THE  J.  PAUL  GETTY  MUSEUM  LIBRARY 


Digitized  by  the  Internet  Archive 
in  2014 


https://archive.org/details/memorialcataloguOOtown 


I 


THIS  COPY,  No. 


OF  THE  MEMORIAL  CATALOGUE 
OF  PAINTINGS  BY  OLD  AND  MODERN  MASTERS 
COLLECTED  BY  EDWARD  R.  BACON 
WAS  PRINTED  FROM  TYPE  ON  A  SPECIALLY  MADE  PAPER 
MAY,  NINETEEN  NINETEEN,  AND  IS  PRESENTED 
WITH  THE  COMPLIMENTS  OF 
VIRGINIA  P.  BACON 

(deceased  APRIL  7,  1919) 


I 


MEMORIAL  CATALOGUE 

OF 

PAINTINGS  BY  OLD  AND 
MODERN  MASTERS 


EDWARD  R.  BACON 
Zorn 


NIEMORIAL  CATALOGUE 

OF 

PAINTINGS  BY  OLD  AND 
MODERN  MASTERS 

COLLECTED  BY 

EDWARD  R.  BACON 


PREPARED  BY 

JAMES  B.  TOWNSEND 

AND 

W.  STANTON  HOWARD 

WITH  BIOGRAPHICAL  NOTES 

BY 

lOHN  GETZ 


PRIVATELY  PRINTED  FOR 

VIRGINIA  P.  BACON 

NEW   YO  R  K 

M  C  M  X  I  X 


THE  J.  PAUl  GFTTY  MUSEUM 
L13RARY 


IN  ^EMORIAM 

'  '^^K^^      r^^r^//  the  face  will  shine 
Upon  me,  while  I  muse  alone; 
^And  that  dear  voice,  I  once  have  known, 
Still  speak  to  me  of  me  and  mine. 

.  .  .  Those  we  call  the  dead 
<iAre  breathers  of  an  ampler  day 
For  ever  nobler  ends^ 

TENNYSON 


LIST  OF  PLATES 


JJyL/ W /iKJJ  IN..   XJ/iV^Ui\  ......... 

oQUlKL  ijKUUKh  

Plaie  Number 

2 

.  Fvotitispiccc 

Facing  Page 

•     ■     •  4 

IVlKb.  rlAKi  

4  • 

0 

lHhUUK.bUr  VV  hLLli\(jlUi\  

10 

10 

A  T  l?V  A  ATr\T?D     A  T  T   A  XT 

jfTLLbXAJNUtK  rlLLAJN  

I  2 

12 

IVlRb.  IVIICHLL  

17  • 

10 

JLiAUl   L-LLIL  rvlLh  

19  . 

T  Q 

lo 

rKlJNChsb  oUrrilA  

24  . 

22 

/i.  lUUiNb  rKlAILh  

20 

.      .      .  24 

Hon.  Mrs.  Beckford,  of  Fonthill,  Wiltshire 

31  • 

...  28 

View  Near  East  Bergholt  

33  • 

...  30 

Lady  Bentinxk  

37  • 

•    •    •  34 

Gener.'\l  Sir  Archibald  Campbell  .... 

39  • 

.  .  .  36 

Mrs.  Thoaias  Raikes  and  Child  

45  • 

...  40 

Mrs.  Grove  

51  • 

...  44 

Blowing  Up  of  the  Orient — Battle  of 

THE  Nile  

53  • 

...  46 

Duchess  of  Portsmouth  

57  • 

...  50 

Duchess  of  Ancaster  

62  . 

•    •    •  54 

St.  Gothard  Pass — The  Devil's  Bridge     .  . 

67  . 

.    .    .  58 

The  Abbe  

72  . 

.    .    .  62 

The  "White  Lion"  Stable  

78  . 

...  66 

Dx3 


Mrs.  Walter  Rathboxe  Bacon  .... 

Plate  Nuviher 

.      83    .  . 

Facing  Page 

.    .  72 

L'Enfant  Cheri — Children  in  the  Park  . 

.     86    .  . 

•    •  74 

The  Charms  of  Springtime  

91    .  . 

Between  Pages 

78  and  79 

The  Pleasures  of  Summer  

.     92    .  . 

78  and  79 

The  Delights  of  Autumn  

•      93    •  • 

80  and  81 

The  Sports  of  Wlnter  

•     94    •  • 

80  and  81 

Les  Loisirs  Champetres  

•     97    •  . 

Facing  Page 
.        .  82 

Countess  Bistri  

102 

.    .  86 

Mme.  de  Bourbon-Conti  and  Louis  XV 

109  . 

.    .  90 

Le  Serment  d' Amour  

112 

.    .  92 

Mme.  Terisse  

.    116    .  . 

.    .  96 

Mme.  d'Aigremont  

100 

The  Rommelpot  Player  

.    .  108 

A  Waterfall  

•    153    •  • 

126 

Lnterior  of  a  Chemist's  Laboratory    .  . 

226 

•    •  174 

Emanuel  Philibert,  Due  de  Savoie  .    .  . 

•    253    .  . 

.    .  198 

Queen  Marie  of  Portugal  

•    255    .  . 

200 

Madonna,  Infant  Christ,  and  Saints  .  . 

•    265    .  . 

210 

Madonna  and  Child  

214 

Madonna  and  Child  

•    274    .  . 

.    .  218 

Modesty  and  Vanity  

.  220 

Venice  

.    28s    .  . 

.  226 

INTRODUCTION 


IT  seems  incredible  that  so  great  a  collection  of  paintings  as  this 
brought  together  by  the  late  Edward  R.  Bacon,  during  the  last 
thirty  years  of  his  life,  should  remain  almost  wholly  unknown, 
save  to  his  friends.  A  reason  for  this  may  be  found  in  the  retiring 
nature  of  the  man  himself,  who  never  consented  to  lend  pictures  from 
his  collection  for  public  exhibition,  but  felt  satisfied  to  enjoy  them 
quietly  in  his  New  York  home,  or  at  his  country  seat  in  Scotland. 
Since  his  death  in  December,  1915,  Mrs.  Walter  Rathbone  Bacon  has 
presented  the  fine  example  of  Van  Dyck  to  the  Metropolitan  Museum, 
in  memory  of  her  brother-in-law,  and  her  own  portrait  by  Zorn,  in 
memory  of  her  husband. 

Like  other  collectors  of  his  time,  Mr.  Bacon  began  by  acquiring  the 
works  of  modern  painters  whose  names  are  familiar  and  whose  pro- 
ductions were  the  mode  of  the  day,  a  number  of  which  still  remain  in 
the  Collection.  Among  these  are  Alvarez,  Domingo,  Madrazo,  Dau- 
bigny,  Benlliure,  Schreyer,  Leloir,  Charlemont,  Vinea,  Lucas,  and 
Tamburini,  all  of  which  show  a  liking  for  the  lighter  and  gayer  side 
of  art,  with  a  leaning  toward  anecdotage.  But  he  soon  found  these 
story-telling  pictures  failed  to  meet  his  craving  for  expression.  As  it 
was  his  custom  to  spend  a  good  deal  of  time  in  Paris,  his  attention  was 
directed  toward  the  French  painters  of  the  eighteenth  century,  and  he 
then  began  to  acquire  works  by  Greuze,  Drouais,  Largilliere,  Vigee- 
Lebrun,  Fragonard,  Vestier,  Boucher,  Nattier,  and  Pater. 

Entrancing  gaiety  characterizes  the  work  of  these  eighteenth  cen- 
tury men.  They  found  delight  in  fantastic  themes  of  love,  and  their 
pictures  are  filled  with  an  atmosphere  of  joyousness  and  vivacity.  In 
Boucher,  Fragonard  and  Pater  we  are  shown  a  world  of  delight,  far 


from  the  every-day  life  about  us,  and  the  vivacity  of  a  room  filled  with 
pictures  of  an  era  that-  seems  one  of  poetry  strongly  appealed  to  Mr. 
Bacon.  This  group  of  painters  is  splendidly  represented  here,  fore- 
most among  them  being  the  superb  series  of  the  "Pleasures  of  the  Four 
Seasons,"  which  Boucher  painted  for  Mme.  de  Pompadour  in  1755. 
To  these  charming  compositions  Boucher  brought  all  his  infinite  re- 
sources of  invention,  as  well  as  his  great  skill  as  a  craftsman.  Of 
equal  interest  are  the  examples  of  Fragonard,  chief  among  which  are 
"Le  Serment  d' Amour"  and  the  joyous  "Children  in  the  Park."  Nor 
should  one  overlook  Nattier's  "Mme.  de  Bourbon-Conti  and  Louis 
XV,"  in  which  the  artist  sought  to  present  actual  portraits  of  his 
courtly  sitters  in  decorative  form  by  portraying  the  amours  of  Venus 
and  Mars.  From  Pater  there  is  the  important  composition,  "Les 
Loisirs  Champetres,"  a  scene  in  a  park,  with  no  less  than  nineteen 
figures.  This  is  an  alluring  work  of  roseate  colour,  and  thoroughly 
representative  of  the  painter. 

Beside  the  decorative  compositions,  there  are  numerous  identified 
portraits,  like  Drouais'  "Mme.  Terisse,"  Vigee-Lebrun's  "Comtesse 
Bistri,"  Nattier's  "Marianne  d'Auvray,"  Carle  Vanloo's  "Panini  the 
Artist,"  with  others  none  the  less  charming  though  unidentified,  like 
Greuze's  "Lady  with  a  Rose"  or  Chardin's  "Girl  with  a  Bird." 

A  little  later  Mr.  Bacon  turned  to  the  field  of  English  Portraits  of 
the  Eighteenth  Century,  into  which  the  decorative  quality  strongly 
enters,  but  where  a  deeper  current  of  human  interest  is  to  be  found. 
Distinction  always  marks  the  work  of  these  English  painters.  They 
are  never  blatant  or  tedious,  but  are  invested  with  an  engaging  charm. 
Though  never  audacious,  they  still  seem  to  be  alive  and  of  compelling 
interest.  Marked  by  able  execution,  they  also  show  introspection, 
making  them  valuable  human  documents,  from  which  we  may  study 
English  modes  and  manners  of  a  past  age.  Accordingly  we  find  here 
many  splendid  works  from  Van  Dyck  to  Lawrence;  all  the  familiar 
names  greet  us,  with  examples  par  excellence. 

Although  not  English  by  birth,  it  was  in  England  that  Van  Dyck 
practised  his  art,  and  there  he  died,  leaving  a  strong  impression  on  his 


followers.  He  is  represented  here  by  one  of  the  young  Stuart  princes, 
as  well  as  by  the  noble  work  called  "The  Abbe,"  which  is  now  in  the 
Metropolitan  Museum  as  a  memorial  of  Mr.  Bacon.  Lely,  another 
alien  Court  Painter  and  a  follower  of  Van  Dyck,  is  represented  by  a 
portrait  of  "Louise  de  Kerouaille,"  whom  King  Charles  made  Duchess 
of  Portsmouth,  while  Hogarth  is  seen  in  two  portraits,  one  of  "Peg 
Woffington,"  but  far  better  in  the  attractive  presentment  of  "Mr. 
Hamilton."  Of  Reynolds  there  are  seven  examples,  of  which  the  best 
is  the  notably  fine  portrait  of  the  beautiful  "Lady  Cecil  Rice,"  with 
the  serious  "Duchess  of  Ancaster"  a  worthy  companion.  By  Gains- 
borough there  are  four  canvases,  of  which  particular  mention  must  be 
given  to  the  fine  "Squire  Brooke,"  which  came  to  light  since  Sir  Walter 
Armstrong  published  his  monumental  work  on  this  painter,  and  the 
very  pleasing  oval  of  Gainsborough's  intimate  friend,  Richard  Brins- 
ley  Sheridan,  which  was  formerly  in  the  great  Peel  Collection. 

The  array  of  English  portraits  is  almost  bewildering  by  their  num- 
ber and  splendour.  Of  Romney  there  are  a  round  dozen,  led  by  the 
beautiful  "Mrs.  Grove,"  who  was  one  of  the  two  daughters  of  Admiral 
Pilford,  and  the  aunt  of  the  poet  Shelley;  this  is  followed  closely  by 
"Mrs.  Raikes  and  her  Child"  and  by  "Lady  Bentinck."  Of  his  male 
portraits,  two  unusual  examples  are  those  of  "Baron  Shaw,"  which 
possesses  great  attractiveness,  as  does  also  that  of  "General  Sir  Archi- 
bald Campbell." 

Of  Hoppner  there  are  nine  canvases,  chief  among  which  are  "Lady 
Melbourne,"  the  novelist  and  friend  of  Lord  Byron,  also  that  of  "Gen- 
eral Edmund  Phipps,"  and  the  portrait  of  the  unhappy  Princess 
Sophia,  daughter  of  George  III  and  Queen  Charlotte,  From  Law- 
rence there  are  six  portraits,  five  of  which  are  of  distinguished  quality. 
These  are  the  "Hon.  Mrs.  Beckford,"  a  canvas  of  imposing  dimen- 
sions; the  "Cardinal  Consalvi,"  seen  in  his  red  robes  and  painted  dur- 
ing Lawrence's  visit  to  Rome;  "Mrs.  Michel,"  "Georgina  Lenox"  and 
the  "Duke  of  Wellington."  From  Raeburn  are  two  of  the  most  im- 
portant canvases  produced  by  him,  one  being  "Mrs.  Hart,"  which  at 
the  time  brought  the  record  price  for  a  Raeburn  portrait  in  a  public 

nxm] 


sale;  the  other,  "Alexander  Allan,"  both  of  imposing  size.  Equally 
imposing  in  size  is  the  single  example  of  Cotes,  "Mrs.  Golding  and  her 
Daughter,"  which  was  long  believed  to  be  a  work  of  Sir  Joshua  him- 
self, and  might  easily  rest  under  that  attribution. 

In  addition  to  the  array  of  portraits,  there  are  other  works  by  Eng- 
lish artists  which  cannot  be  passed  over.  From  Constable  there  is  a 
notable  canvas  in  the  "View  of  East  Bergholt,"  with  several  by  Mor- 
land,  one  by  Vincent,  and  two  most  interesting  examples  of  Turner. 
Of  the  last  named  there  is  the  great  "Battle  of  the  Nile,"  one  of  his 
most  dramatic  sea  pieces,  which,  though  exhibited  in  the  Royal  Acad- 
emy in  1799,  was  long  lost  sight  of;  the  other  is  the  well  known  "St. 
Gothard  Pass — The  Devil's  Bridge." 

Let  us  now  turn  to  the  Dutch  painters,  who  are  so  well  represented 
in  the  Collection.  The  "Little  Masters"  of  Holland  were  little  only 
in  the  size  of  the  pictures  they  painted.  In  the  seventeenth  century 
the  Roman  Church  no  longer  decreed  the  subjects  of  a  painter's  work, 
and  artists  turned  for  their  commissions  to  the  people  who  wanted  pic- 
tures in  their  homes.  To  meet  these  demands,  they  were  obliged  to 
paint  the  scenes  about  them,  which  the  people  understood.  Their  art 
showed  their  individual  characteristics  as  soon  as  they  threw  olf  the 
Spanish  yoke.  Accordingly,  here  we  have  interior  views  of  their 
homes,  the  work  of  Netscher,  Metsu,  Palamedesz,  Dirk  Hals,  or  Ter- 
burg;  the  life  of  the  cabarets  shown  in  the  pictures  of  Teniers,  Brack- 
enburg.  Van  Ostade,  Frans  Hals,  or  Schalcken;  street  scenes  by  Van 
der  Heyden,  Victors,  or  Jan  Steen ;  the  fine  landscapes  of  Hobbema, 
Ruysdael,  and  Van  Goyen;  and  the  frozen  rivers  with  their  skaters  by 
Van  der  Neer.  And  just  as  they  loved  these  transcripts  of  their  home 
scenes,  so  they  loved  their  own  portraits;  hence  the  Dutch  painters 
became  a  race  of  great  portraitists.  Here  are  convincing  portraits  by 
Antonio  Moro,  who,  in  spite  of  his  attachment  to  the  Spanish  court, 
remains  more  Dutch  than  Spanish;  also  little  portraits  by  Theodore 
Keyser,  whom  the  world  will  some  day  hold  in  higher  esteem  than 
now;  others  by  Moreelse,  Van  der  Heist,  Mierevelt,  Maes,  Van  den 
Tempel,  Gonzales  Coques,  Van  Ravesteyn,  and  Rubens. 


These  painters  of  the  Low  Countries  always  show  fine  craftsman- 
ship with  deep  insight,  and  whether  they  portray  the  scenes  of  their 
daily  life,  or  set  forth  their  berulfed  men  and  stately  dames,  their  work 
is  marked  by  fine  characterization.  They  were  realists  and  have  im- 
mortalized the  life  of  their  day.  From  these  pictures  also  we  know  the 
life  the  humble  toilers  and  vagabonds  lived.  But,  while  they  por- 
trayed the  misery  and  drunkenness  about  them,  they  invested  it  with 
irrepressible  mischief  and  mocking  gaiety.  While  their  pictures  tell 
innumerable  stories,  they  show  a  delight  in  life.  They  knew  only  their 
own  home  life  and  loved  it.  When  a  great  landscapist  like  Ruysdael 
chose  to  paint  his  wonderful  waterfalls  and  mountain  torrents,  the 
Dutch  people  could  not  understand  them.  They  had  never  seen  any 
such  scenes  and  had  no  love  for  them;  accordingly  they  allowed  him 
to  die  in  poverty  and  neglect,  while  they  patronized  his  rivals  like 
Steen,  or  Van  Goyen,  or  Van  der  Neer,  who  gave  them  bits  of  neigh- 
bourhood gossip,  or  the  river  scenes  about  them. 

In  the  collecting  of  paintings  there  are  many  by-paths  into  which 
the  picture-lover  may  be  led,  according  to  his  individual  taste  or  de- 
gree of  artistic  culture.  Having  followed  other  leads  to  his  satisfac- 
tion, Mr.  Bacon  in  later  life  turned  to  the  Primitives,  in  which  field 
he  found  it  both  interesting  and  profitable  to  make  explorations.  Of 
special  interest  to  him  were  the  Italian  Primitives,  a  field  in  which  few 
collectors  have  had  the  courage,  or  sufficient  culture,  to  enter;  for  it  is 
a  field  that  does  not  attract  the  uncultivated,  but  only  reveals  its  joys 
in  return  for  what  one  brings  to  it.  He  did  not  seek  the  great  museum 
pieces,  the  altarpieces  of  early  Italian  or  Flemish  art,  but  enjoyed  the 
discovery  of  some  work  of  that  early  period  when  the  painters  were 
finding  new  modes  of  expression.  Among  the  pictures  of  this  group  is 
a  small  work  of  the  School  of  Giotto,  that  master  who  counts  among 
his  followers  and  pupils  all  Italian  artists,  for  he  opened  new  trails  for 
them  by  breaking  down  Byzantine  tradition.  Mr.  Bacon  was  par- 
ticularly fond  of  this,  as  he  was  of  the  tondo  by  Filippo  Lippi  and 
Ghirlandajo's  beautiful  "Madonna  and  Child." 

In  pursuing  this  last  lead,  Mr.  Bacon  enjoyed  loitering  in  the  rooms 


in  the  National  Gallery,  or  the  Louvre,  where  the  works  of  the  early 
painters  hung,  studying  the  peculiarities  of  this  or  that  artist.  He 
was  interested  in  the  quaint  and  lovable,  and  would  not  hesitate  to 
acquire  a  picture  because  it  could  not  be  definitely  ascribed  to  some 
particular  artist,  so  long  as  he  was  assured  of  its  genuineness. 

In  Spanish  art,  while  his  acquisitions  were  less  numerous  than  in 
other  fields,  they  are  no  less  important,  since  they  embrace  some 
extraordinary  royal  portraits  by  Coello,  the  Court  Painter  of  Philip  II, 
that  can  have  few  rivals.  There  are  also  a  couple  of  vigorous  works 
by  Miranda,  Coello's  friend  and  predecessor  at  the  Spanish  court.  A 
somewhat  puzzling  work  is  the  head  of  Pope  Innocent  X,  which, 
according  to  the  belief  of  Dr.  Bode,  is  from  the  hand  of  Velasquez 
himself.  There  are  some  who  are  not  inclined  to  accept  this  obiter 
dictum^  but  no  one  will  deny  that  it  is  an  interesting  study.  Of  the 
two  portraits  by  Goya,  that  of  the  "Marquessa  Tudo,"  a  danseuse  fa- 
mous at  the  beginning  of  the  nineteenth  century,  is  a  veritable  master- 
piece. 

In  this  rapid  survey  of  the  Collection,  only  the  more  notable  works 
have,  of  necessity,  been  touched  upon.  While  many  have  been  passed 
over,  enough  have  been  named  to  show  the  high  standard  which  Mr. 
Bacon  set  for  his  gallery.  From  long  familiarity  with  it,  it  has  often 
been  a  source  of  surprise  to  the  writer  that  he  was  able  to  reach  so  high 
a  level  in  all  the  different  groups.  This  was  achieved  only  by  the 
process  of  constant  weeding  out,  which  he  pursued  up  to  the  end  of  his 
life ;  so  that,  to-day,  the  larger  part  of  each  group  may  be  said  to  be 
worthy  of  rank  with  the  best  examples  of  that  school  to  be  found  any- 
where. 

W.  Stanton  Howard. 


[xvi;] 


PAINTINGS 
OF  THE  ENGLISH  SCHOOL 


No.  1 


Thomas  Gainsborough 

i'j2'j-i'j88 
RICHARD  BRINSLEY  SHERIDAN 

Oval  canvas.   Height,  27^  inches;  vi^idth,  23 J4  inches 

IN  this  delightful  presentment  of  the  famous  English  author  and 
wit,  the  distinguished  artist  painted  his  no  less  distinguished  sitter 
con  amore.  Serenely  does  Sheridan  look  out  upon  the  world  in  this 
canvas,  a  world  which  had  given  him  so  much  of  fame  and  happiness. 
Seriously  thoughtful  is  the  gaze  of  the  clear  brown  eyes  set  in  a  fresh 
young  face  aglow  with  health,  the  finely  poised  head  framed  with  the 
powdered  hair  of  the  period.  He  wears  a  becoming  coat  of  blue  with 
brass  buttons,  half  open  to  disclose  a  lace  jabot  and  buff  waistcoat, 
which  accentuates  the  attractive  face.  Altogether  this  is  one  of  the 
artist's  best  portraits  of  men. 

Painted  in  1786. 

Collection  of  Sir  Robert  Peel,  Bart. 

Illustrated  in  Armstrong's  "Life  of  Gainsborough." 

Listed  in  Armstrong's  Catalogue  of  Portraits  by  Gainsborough. 


C3  n 


No.  2 


Thomas  Gainsborough 

SQUIRE  BROOKE 

Canvas.    Height,  50  inches;  width,  40  inches 

THE  artist  shows  his  subject  at  three-quarters  length,  seated  on  a 
bank  under  the  spreading  branches  of  a  tree,  his  knees  crossed 
and  his  hands  clasped  on  his  lap.  His  youthful  face  is  seen  in  a  three- 
quarters  view,  turned  to  the  right.  He  wears  a  long  blue  coat  with 
broad  lapels  and  collar,  buttoned  over  a  light  waistcoat,  and  with  lace 
frills  at  the  sleeve  ends  and  a  lace  jabot  and  white  stock.  His  pow- 
dered hair  is  worn  back  from  the  forehead,  is  curled  at  the  side  and 
falls  in  a  queue  at  the  back.  His  hat  rests  on  the  bank  beside  him. 
In  pose  and  expression  it  is  a  serious  and  dignified  portrait  of  a  hand- 
some English  country  gentleman  that  speaks  of  ancestry  and  race. 

Bought  of  Thomas  Agnew  &  Sons,  London. 

Collection  of  Ireland  Blackburne,  Esq.  ^ 
Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1905. 

Illustrated 


No.  2 
SQUIRE  BROOKE 
Gainsborough 


No.  3 

John  Hoppner  . 

ij 58-1810 

MR.  SYMONS  AND  SON 

Canvas.    Height,  92  inches;  width,  57  inches 

THIS  canvas  presents  a  handsome  man  of  about  sixty,  standing  at 
full  length,  his  left  elbow  resting  on  a  pedestal,  while  his  little 
son,  standing  at  the  right,  playfully  picks  at  a  button  of  his  father's 
waistcoat.  The  man  wears  a  brown  coat  buttoned  over  a  white  waist- 
coat, knee-breeches,  white  hose  and  black  pumps.  The  boy  is  clad  in 
long  trousers,  a  high-necked  jacket  with  three  rows  of  gilt  buttons 
down  the  front,  and  a  white  linen  collar  edged  with  a  ruffle.  He  car- 
ries his  hat  down  at  his  right  side.  His  fresh  complexion,  tinged  with 
the  pink  hue  of  health  and  youth,  is  set  oif  by  his  chestnut  curls.  The 
clear  ruddy  face  of  the  father  is  framed  by  his  short  white  hair.  A 
landscape  forms  the  background,  with  a  wide  expanse  of  luminous 
clouds. 


No.  4 

Sir  Henry  Raeburn 

1756-1823 

MRS.  HART 

Canvas.    Height,  90  inches;  width,  56  inches 

THIS  is  probably  the  most  distinguished  of  the  portraits  of  women 
painted  by  the  early  Scottish  painter.  It  shows  the  remarkable 
strength  and  brilliant  quality  which  have  brought  the  artist  into  the 
front  rank  of  the  great  painters  of  his  period.  The  canvas  shows  a 
striking  presentment  of  a  tall,  handsome  young  brunette,  who  stands 
at  full  length,  looking  directly  at  the  observer.  She  leans  with  her 
outstretched  right  arm  on  the  railing  of  an  old  stone  balcony  of  a 
country  house,  holding  her  dark  fur-trimmed  wrap  with  its  red  silk 
lining,  just  falling  from  her  shoulders.  ,With  her  left  hand  she  gathers 
a  fold  of  her  loose  white  dress,  which  is  cut  low  in  the  neck.  A  long 
neck-chain  of  rubies  set  in  gold  reaches  below  her  waist,  from  which 
depends  a  small  miniature  portrait  in  an  old  gold  frame.  A  noble  oak 
tree  spreads  its  branches  above,  and  a  distant  landscape  under  a  gray 
clouded  sky  forms  the  background.  Mrs.  Hart  was  the  daughter  of 
Sir  James  Montgomery  of  Stanhope,  Lord  Chief  Baron  of  the  Ex- 
chequer of  Scotland,  whom  Raeburn  painted  several  times.  She  mar- 
ried Major  Hart,  of  Castlemilk,  Dumfriesshire. 

Painted  in  18 10. 

Collection  of  Sir  James  Graham  Montgomery,  Bart. 

Listed  in  Armstrong's  Catalogue  of  Portraits  by  Raeburn. 

Bought  from  the  Collection  of  Major  Hotchkiss,  grandson  of  Mrs.  Hart. 

Illustrated 

[6: 


No.  4 
MRS.  HART 

Raeburn 


No.  5 


George  Romney 


1734-1802 


ANNE  MONTGOMERY 


Canvas.    Height,  35  inches;  width,  27 


inches 


HE  artist  has  portrayed  this  beautiful  young  woman  leaning  easily 


X  on  a  table,  supported  by  her  left  elbow  and  looking  directly 
out  of  the  canvas.  She  wears  the  simplest  of  gowns  of  white  material 
and  also  a  white  turban  with  streamers  falling  below  her  neck,  covering 
her  fair  hair.  She  holds  her  hand  up  to  her  neck,  which  is  disclosed  by 
the  low-cut  bodice.  The  portrait  is  one  of  rare  charm  and  refinement. 
The  sitter  was  a  daughter  of  Sir  William  Montgomery,  whose  wife  was 
a  Rutherford  and  became  the  first  Marchioness  Townshend.  She  was 
portrayed  by  Reynolds  as  one  of  the  "Graces  decorating  a  Term  to 
Hymen,"  which  is  now  in  the  National  Gallery,  and  this  fact  led  to 
the  present  portrait  being  formerly  attributed  to  Sir  Joshua. 

Bought  of  Sulley  &  Co.,  London. 

Collection  of  Charles  Kirkpatrick  Sharpe,  London. 

Sold  at  Christie's  in  1875. 

Listed  in  Ward  and  Roberts'  Catalogue  Raisonne  of  Works  by  Romney. 


[7] 


No.  6 


Thomas  Gainsborough 

1^2^-1^88 
MRS.  CATHERINE  MACAULAY 

Canvas.    Height,  20  inches;  width,  16  inches 

THIS  attractive  bust  portrait  shows  us  a  kindly-faced  English 
woman,  not  young,  nor  yet  old,  who  bears  the  marks  of  breed- 
ing. She  looks  directly  out  of  the  canvas  and  wears  a  decollete  white 
evening  gown,  her  neck  encircled  by  a  collar  of  pearls  with  a  red  rib- 
bon at  the  back.  Her  hair  is  brushed  smoothly  back  and  crowned  by 
a  small  lace  head-dress. 


No.  7 

John  Hoppner 

1^^^-1810 

HEAD  OF  A  GIRL 

Canvas.   Height,  15  inches;  width,  13^  inches 

IN  this  pleasing  portrait  the  fresh  face  of  the  young  woman  is  turned, 
looking  to  the  right.  On  her  head  she  wears  a  high  white  turban 
from  under  which  her  fair  hair  escapes  in  front  and  falls  on  each  side. 
She  wears  a  high-necked  bodice  with  a  wide  white  frill  slightly  turned 
down  in  front.  A  streamer  from  her  cap  falls  at  the  back. 


No.  8 

Thomas  Gainsborough 

1^2^-1^88 
DR.  SAMUEL  JOHNSON 

Canvas.    Height,  29  inches;  width,  24  inches 

THIS  is  one  of  several  portraits  of  Johnson  that  Gainsborough 
painted,  and  shows  the  great  Lexicographer  at  half  length,  the 
strong  face  framed  by  a  curled  white  wig.  He  wears  a  coat  of  deep 
sombre  red  with  a  high  collar. 


No.  9 

Guillem  Stretes 

XVI  Century 
SIR  NICHOLAS  BACON 

Panel.   Height,  25  inches;  width,  21  inches 

THIS  interesting  early  picture  shows  the  father  of  the  illustrious 
Francis  Bacon  wearing  a  black  robe,  high  fluted  ruff  almost  con- 
cealing his  ears,  and  a  black  cap  on  his  head.  He  grasps  the  top  of  a 
heavy  carved  staff  in  his  right  hand.  There  is  a  quaintly  humorous 
expression  on  his  ruddy  face. 

Bought  of  P.  and  D.  Colnaghi,  London. 


1:93 


No.  10 


Sir  Thomas  Lawrence 

1769-1830 

THE  DUKE  OF  WELLINGTON 

Canvas.    Height,  41^  inches;  width,  31  inches 

THIS  portrait  of  Arthur  Wellesley,  "the  Iron  Duke,"  shows  him 
at  three-quarters  length,  standing  with  arms  crossed  on  his 
breast,  facing  the  observer,  whom  he  regards  with  that  calm  gaze  of 
dignity  and  strength  which  marked  the  great  soldier  and  which  con- 
founded his  enemies.  He  wears  a  long  coat  of  dark  green  buttoned 
to  the  neck,  with  wide  turned-down  collar,  above  which  his  white  stock 
is  just  visible.  Below  the  collar  hangs  the  Order  of  the  Golden  Fleece, 
and  on  his  left  breast  the  Order  of  George  IV.  His  fresh,  clear  com- 
plexion is  enhanced  by  the  white  hair  clustering  about  his  temples  and 
by  the  slight  side-whiskers.  Altogether  it  is  a  portrait  of  unusual 
power  and  distinction.  Lawrence  painted  the  Duke  a  number  of 
times,  Armstrong  giving  no  less  than  fourteen  dilferent  portraits  of 
him  in  his  list. 

Bought  of  Martin  Colnaghi,  London. 

Illustrated 


No.  10 

THE  DUKE  OF  WELLINGTON 
Lawrence 


No.  11 


George  Romney 

1734-1802 

MISS  ELEANOR  GORDON 
Canvas,  inscribed:  "Miss  Eleanor  Gordon."    Height,  49  inches;  width,  39  inches 

SEATED  on  a  low  divan,  whose  red  cushions  rise  at  her  back,  this 
young  English  brunette  looks  out  pensively  from  the  canvas, 
turning  from  the  sheet  of  music  which  she  holds  on  her  lap.  Her  dress 
is  of  soft  white  material,  with  a  simple  low-necked  bodice,  belted  with 
a  rose  ribbon  sash  which  falls  in  bows  at  the  back.  Her  luxuriant  dark 
hair  is  crowned  by  a  small  cap  and  falls  down  on  both  sides  of  her  neck, 
being  held  by  a  red  ribbon.  The  background  shows  a  classic  column 
at  the  right  and  a  landscape,  dimly  lighted  by  a  pale  sunset,  on  the  left. 

Bought  of  Sedelmeyer,  Paris,  in  1898. 

Listed  in  Ward  and  Roberts'  Catalogue  Raisonne  of  the  Works  of  Romney. 
Illustrated  in  Sedelmeyer's  "One  Hundred  Paintings,"  1896. 


No.  12 


Sir  Henry  Raeburn 


1756-1823 


ALEXANDER  ALLAN 


Canvas.    Height,  80  inches;  width,  56  inches 


HIS  is  one  of  several  large  and  virile  presentments  of  the  leading 


X  men  of  Scotland  of  the  period,  which  have  increased  the  Scottish 
master's  reputation  and  given  him  the  title  of  "Peer  of  Early  British 
Portraitists."  He  has  shown  his  subject  seated  in  a  red-covered  arm- 
chair beside  a  table  covered  with  a  red  cloth,  on  which  are  some  books 
and  writing  materials.  He  wears  a  dark  coat  with  brass  buttons  show- 
ing at  the  neck  a  white  jabot  and  neckcloth,  and  his  legs  are  clothed  in 
black  knee-breeches,  silk  hose  and  black  pumps.  His  right  arm  and 
hand  rest  on  the  table,  while  in  his  left  he  holds  a  paper.  The  fine 
head,  with  its  gray  hair  and  ruddy  complexion,  is  finely  poised,  and  the 
gray  eyes  have  a  direct  gaze  and  thoughtful  expression.  The  face  and 
form  are  placed  against  a  sombre  background,  bringing  them  into 
strong  relief,  and  making  it  altogether  a  truthful,  virile,  and  striking 
portrait. 

Collection  of  Major-General  Allan,  of  Hillside,  Edinburgh. 
Listed  in  Armstrong's  Catalogue  of  Pictures  by  Raeburn. 
Exhibited  in  Memorial  Exhibition,  Edinburgh,  1824. 
Exhibited  in  Raeburn  Exhibition,  Edinburgh,  1876. 


Illustrated 


D2j 


No.  12 
ALEXANDER  ALLAN 
Raeburn 


No.  13 

Francis  Cotes 

MRS.  ANNE  GOLDING  AND  DAUGHTER 

Canvas.    Height,  92  inches;  width,  53  inches 

THIS  imposing  portrait  of  a  young  English  mother  and  child  was 
formerly  ascribed  to  the  brush  of  Reynolds,  and,  indeed,  both 
in  subject  and  treatment,  is  very  suggestive  of  that  master.  The 
artist  has  portrayed  the  tall  and  graceful  young  mother  gowned  in  a 
flowing  robe  of  white  brocaded  with  a  small  flower,  having  low-cut 
bodice  and  wide  sleeves.  She  is  seen  standing  under  the  spreading 
branches  of  a  tree  in  a  wooded  park,  leaning  lightly  on  a  pedestal  of 
gray  stone,  one  red-slippered  foot  resting  on  its  base,  and  supporting 
with  both  arms  a  fair-haired  little  girl  of  some  five  summers.  The 
child  is  dressed  in  a  blue  gown  with  white  over-dress  and  a  blue  sash, 
and  wears  a  dainty  lace  cap.  Looking  to  the  right  as  if  watching  for 
some  one,  she  fondly  embraces  her  mother,  having  one  arm  about  her 
neck,  the  other  resting  on  her  bosom.  The  mother's  face,  gracious  and 
refined,  is  crowned  by  a  mass  of  dark  brown  hair,  dressed  high,  with 
curls  falling  on  her  neck,  surmounted  by  a  black  velvet  bow.  On  the 
pedestal  is  a  circular  panel  showing  a  group  of  figures  sculptured  in 
relief.  Mrs.  Golding  was  the  wife  of  the  Right  Hon.  Edward 
Golding. 


[13] 


No.  14 


John  Opie 

lydi-iSoj 

MRS.  COVENTRY 
Canvas.   Height,  24  inches;  width,  19%.  inches 

IN  this  bust  portrait  of  a  handsome  young  English  woman  we  have 
the  bold  drawing,  fine  expression  and  warm  flesh  tones  character- 
istic of  the  artist.  The  lovely  face  of  the  subject,  turned  slightly 
toward  the  left,  is  framed  by  a  wealth  of  auburn  hair,  bound  by  a  fillet. 
She  wears  a  loose  low  bodice  of  soft  white  material,  and  a  dull  red 
over-dress  falls  loosely  from  her  shoulders. 

Bought  from  Thomas  Agnew  &  Sons,  London. 

No.  15 

George  Morland 

1763-1804 

HORSES  AND  FOAL 

Canvas.    Height,  12  inches;  width,  14  inches 

BEFORE  the  open  door  of  a  thatched  stable  a  handsome  bay  mare, 
with  white  nose  and  white  feet,  is  seen  standing  with  her  brown 
foal  beside  her.  In  the  distance  is  a  bay  horse,  seen  in  a  sunny  land- 
scape. 

Bought  from  Thomas  Agnew  &  Sons,  London. 


/ 


No.  16 


Sir  John  Linnell 


iyg2-i882 


PAUL  PRY 


Panel,  signed  and  dated  1831.   Height,  13 


inches;  width,  10  inches 


N  exceptionally  pleasing  portrait,  of  quarter  life-size,  of  an  elderly 


XjL  man,  seen  at  half  length,  much  richer  in  colour  than  we  usually 
associate  with  this  able  but  somewhat  hard  painter,  who  began  his  art 
career  as  an  engraver.  Indeed,  the  ruddy  flesh  tones  suggest  the  brush 
of  Beechey.  The  subject  is  seen  seated  in  a  red  arm-chair,  holding  an 
open  book  on  his  lap.  He  wears  a  long  frock  coat,  open  at  the  neck, 
and  a  wide  black  silk  stock  above  the  soft  white,  pleated  bosom  of  his 
shirt. 

In  Crabb  Robinson's  Diary  (Vol.  II,  p,  102)  may  be  found  the  following  con- 
temporary comment  on  the  subject: 

"Feh.  21,  1829.  At  six  dined  with  Gooden.  Thomas  Hill,  the  original  Paul 
Pry,  was  there,  the  man  whom  everybody  laughed  at,  and  whom,  on  account  of  his 
good  nature,  many  tolerated,  and  some  made  use  of  as  a  circulating  medium.  He 
was  reported  to  be  of  great  age,  and  Theodore  Hook  circulated  the  apology  that 
his  baptismal  register  could  not  be  found  because  it  was  burned  in  the  Tower  of 
London  Fire.  He  dealt  in  literary  haberdashery  and  was  once  connected  with 
The  Mirror,'  a  literary  magazine,  the  motto  of  which  was  'a  snapper  up  of  uncon- 
sidered trifles.'  He  was  also  a  great  fetcher  and  carrier  of  gossiping  paragraphs 
for  the  newspapers.  His  habit  of  questioning  was  quite  ludicrous,  and  because  it 
was  so  ridiculous  it  was  less  offensive  when  he  was  universally  known." 

Bought  at  the  Murietta  Sale,  London. 


No.  17 

Sir  Thomas  Lawrence 

i'/6g-i830 
MRS.  MICHEL 

Canvas.    Height,  55  inches;  width,  44  inches 

IN  this  portrait  of  Anne,  daughter  of  Hon.  Henry  Fane,  of  Fulbeak, 
Lincolnshire,  who  married  General  John  Michel  in  1803,  the  artist 
found  opportunity  to  indulge  his  brilliant  colour  sense  to  the  fullest 
extent.  He  has  shown  his  handsome  subject  seated  on  rose-pink 
cushions  in  an  arm-chair  in  the  portico  of  a  country  house.  The  lady 
wears  a  close-fitting  gown  of  black  velvet  with  puffed  sleeves,  leaving 
the  arms  and  neck  bare.  A  double  strand  necklace,  clasped  with  a 
jewel,  encircles  her  throat,  and  on  her  left  arm  is  a  bracelet.  A  large 
dark  velvet  hat,  topped  with  many  plumes,  crowns  her  abundant  dark, 
waving  hair.   It  was  painted  about  1820. 

The  following  extracts  from  a  letter  written  by  a  member  of  the  family  will 
prove  interesting  in  this  connection: 

"The  portrait  is  a  very  authentic  one.  It  came  straight  from  Dewlish  in  Dorset- 
shire, where  it  has  hung  ever  since  it  was  painted.  .  .  .  Mrs.  Michel  was  my 
father's  eldest  sister.  He  was  devoted  to  her,  as  she  was  like  a  mother  to  him. 
She  married  her  cousin,  Colonel  Michel  of  Dewlish.  Her  son,  Sir  John  Michel, 
was  in  the  Indian  Mutiny,  was  Commander-in-Chief  in  Canada  in  the  '70's,  I 
think,  and  in  Ireland  later  on.  .  .  .  The  three  Miss  Fanes  of  that  date  were 
Mrs.  Michel,  Mrs.  Arbuthnot,  both  painted  by  Lawrence,  and  Mrs.  Charles 
Chaplin  of  Blankney.  .  .  ." 

Bought  of  Thomas  Agnew  &  Sons,  who  acquired  it  directly  from  the  family.  Sold 

at  Christie's  in  December,  1904. 
Listed  in  Armstrong's  Portraits  by  Lawrence. 

Illustrated 

D6] 


No.  17 
MRS.  MICHEL 
Lawrence 


No.  18 


George  Romney 

1734-1802 

BARON  SHAW 

Canvas.    Height,  29  inches;  width,  24  inches 

THIS  canvas  shows  the  half-length  portrait  of  the  handsome 
young  nobleman  at  the  age  of  thirty-one.  Standing  in  profile, 
his  fresh,  clean-shaven  face  is  turned  toward  the  observer  and  seen  in 
three-quarters  view.  His  hair  is  powdered  and  he  wears  a  coat  of 
a  green  shade  with  wide  collar  open  to  show  a  white  neckcloth  and 
ruffle.  His  fine  features  and  handsome  eyes,  directly  and  forcefully 
painted,  show  a  winning  personality,  making  this  a  striking  and  mas- 
terly example  of  the  artist.  Sir  John  Gregory  Shaw,  of  Eltham,  Kent, 
was  born  in  1750  and  succeeded  his  father  as  fifth  Baronet  of  Eltham 
in  1779.  He  sat  to  Romney  in  1781  and  died  in  1831. 

Inherited  by  Rev.  R.  W.  Shaw,  of  Cuxton  Rectory,  Kent. 

Inherited  by  the  eldest  son,  then  came  into  the  possession  of  Mr.  Bacon. 

Described  in  Ward  and  Roberts'  Catalogue  Raisonne  of  the  Works  of  Romney, 


[17] 


No.  19 

Sir  Joshua  Reynolds 

1T2S-I792 

LADY  CECIL  RICE 
Canvas.   Height,  533^  inches;  width,  39j^  inches 


HIS  is  one  of  the  most  distinguished  examples  of  the  English 


X  master  in  its  beauty  and  richness  of  colour,  mellowed  by  time, 
and  in  its  dignity  and  charm.  The  handsome  woman,  who  was  the 
only  child  of  William  Talbot,  afterward  Baron  Dynevor,  is  portrayed 
seated,  her  head  turned  to  the  left,  showing  her  face  in  three-quarters 
view.  She  wears  a  white  dress  with  wide  sleeves,  caught  up  with  jew- 
elled bands,  the  waist  girdled  with  a  dark  sash,  and  a  rose  with  its  dark 
green  leaves  nestles  in  the  corsage.  A  dark  cloak,  trimmed  with  fur,  is 
draped  about  her  shoulders  and  falls  across  her  lap,  against  which  her 
hands  rest.  Her  wrists  are  encircled  with  black  velvet  bands  and  a 
long  pendant  hangs  from  her  ear.  A  strand  of  pearls  runs  through  her 
hair,  which  is  dressed  high,  with  a  dark  tress  falling  down  the  right 
shoulder. 

Lady  Cecil  Rice  was  born  in  1733  and  married  George  Rice,  M.P.  for  Car- 
marthen, in  1756.  Her  father,  William  Talbot,  became  Baron  Dynevor  in  1780, 
with  remainder  to  his  daughter.  On  his  death  in  1782,  she  became  Baroness 
Dynevor.  She  sat  to  Reynolds  for  this  portrait  in  February,  1762,  as  Mrs.  Rice. 
The  picture  descended  to  Edward  Rhys  Wingfield,  of  Barrington  Park,  Oxon,  a 
grandson,  who  was  sixth  Lord  Dynevor.    She  died  March  14,  1793. 

Described  in  Graves  and  Cronin's  "Works  of  Sir  Joshua  Reynolds." 
Collection  of  Edward  Rhys  Wingfield,  Esq. 

Listed  in  Armstrong's  Catalogue  Raisonne  of  Portraits  by  Reynolds. 


Illustrated 


No.  19 
LADY  CECIL  RICE 
Reynolds 


No.  20 


John  Hoppner 

i'j58-i8io 

LADY  BURLINGTON  AND  CHILD 
Canvas.   Height,  35  inches;  width,  275^  inches 

ENFOLDING  in  her  loving  arms  the  infant  who  reclines  at  full 
length  on  her  lap,  the  young  mother  sits  tenderly  gazing  down 
upon  her  precious  burden.  Both  mother  and  child  are  clothed  in  white. 
The  child  stretches  its  arm  up  to  the  mother's  breast.  Her  head  is 
crowned  by  a  mass  of  auburn  hair,  coiled  and  held  in  place  by  a  band 
of  blue  ribbon.  A  dark  red  curtain  forms  the  background.  The  pic- 
ture was  left  uncompleted  by  the  artist  and  was  formerly  known  under 
the  title  "Maternity." 

Bought  of  Charles  Sedelmeyer,  Paris. 
Collection  of  Humphry  Ward,  Esq. 
Collection  of  the  Earl  of  Carlisle. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1899. 


No.  21 


George  Romney 

1734-1802 

HEAD  OF  A  YOUNG  WOMAN 

Canvas.    Height,  19  inches;  width,  17  inches 

IN  this  bust  portrait  of  a  pretty  young  English  woman,  the  face  is 
seen  in  three-quarters  view,  gazing  directly  at  the  spectator.  She 
wears  a  simple  white  dress  cut  low  in  the  neck.  Her  mass  of  brown 
hair,  powdered  and  dressed  high  about  her  head,  is  held  by  a  fillet  of 
pink  ribbon,  with  curls  falling  to  her  shoulders  on  either  side.  The 
subject  is  believed  to  be  the  same  as  Romney  painted  in  his  well 
known  "Parson's  Daughter"  of  the  National  Gallery. 

Collection  of  A.  Burger  Portman,  Esq.,  London, 


1:20] 


No.  22 

George  Vincent 

I7g6-i83i 
LANDSCAPE 

Canvas.    Height,  i8}^  inches;  width,  163^  inches 

THIS  charming  portrayal  of  a  scene  of  rural  life  shows  just  such  a 
view  as  may  be  found  in  the  English  country-side  any  summer 
day,  the  fine  trees  casting  their  shadows  across  the  roadside,  with  the 
figures  added  to  give  it  additional  interest,  all  rendered  with  sym- 
pathy for  its  indefinable  charm. 

No.  23 

Sir  Thomas  Lawrence 

1769-1830 

PORTRAIT  OF  A  LADY 
Canvas.    Height,  17  inches;  width,  i^Yz  inches 

THIS  bust  portrait  of  a  brunette  maiden  of  some  twenty  summers 
shows  an  attractive  face  with  fresh  English  colouring,  framed 
by  luxuriant  black  hair,  which  falls  over  her  forehead  and  in  masses 
about  her  neck.  Around  her  shoulders  is  gathered  a  white  covering, 
making  an  attractive  but  hardly  completed  work.  The  subject  has  not 
been  identified. 

Bought  from  Thomas  Agnew  &  Sons,  London. 


1:20 


No.  24 

John  Hoppner 

1758-1810 

PRINCESS  SOPHIA 

Canvas.    Height,  35  inches;  width,  24  inches 

THIS  young  English  Princess,  the  fourteenth  child  of  King  George 
III  and  Queen  Charlotte,  is  portrayed  less  than  half  life-size, 
standing  in  a  forest  glade,  her  face  looking  directly  out  of  the  canvas. 
She  wears  a  long  white  gown  with  low-cut,  lace- trimmed  bodice,  her 
waist  bound  by  a  blue  silk  sash.  On  her  head  is  a  white  turban  with  a 
fillet  of  pearls,  and  strands  of  pearls  encircle  her  sleeve  at  the  elbow. 
About  her  neck  is  a  fine  gold  chain  from  which  hangs  a  jewel.  Her 
brown  hair  falls  in  ringlets  on  her  shoulders.  This  Princess,  whom 
Hoppner  painted  several  times,  died  unmarried,  after  a  long  and  not 
very  happy  life,  in  1848,  at  the  age  of  seventy-one.  Greville  tells  us 
she  was  "blind,  helpless  and  suffered  martyrdom;  a  very  clever  and 
well  informed  woman,  but  one  who  never  lived  in  the  world." 

Illustrated 


1:22] 


No.  24 
PRINCESS  SOPHIA 
Hoppner 


No.  25 

Richard  Parkes  Bonington 

1801-1828 

LAKE  COMO 
Panel.   Height,  6%  inches ;  width,  6  inches 

ON  the  left  the  mountains  rise  precipitously  from  the  water's  edge, 
while  a  distant  ridge  is  seen  in  pearly  splendour  beyond  the  far 
end  of  the  lake,  on  whose  surface  in  the  shimmering  light  of  the  Italian 
sun  a  distant  sail  is  seen.  In  the  foreground  two  men  appear  on  the 
rocky  shore.  Bonington's  Italian  works  are  few  in  number,  but  all  are 
inspired  by  his  love  of  sunlight,  and  entitle  him  to  rank  with  Turner 
as  the  most  luminous  colourists  among  all  English  painters  of  the 
nineteenth  century.  They  came  at  the  end  of  his  career,  when  the 
hand  of  death  was  upon  him,  for,  like  Keats,  he  "died  ere  his  time." 

Bought  from  the  McLean  Galleries,  London. 


No.  26 


Sir  Anthony  van  Dyck 

1599-1641 

A  YOUNG  PRINCE 
Canvas.    Height,  293^  inches;  width,  24^  inches 

THIS  delightful  example  of  the  Flemish-English  master  shows  the 
fresh  face  of  the  young  Prince,  one  of  the  children  of  Charles  I 
whom  he  loved  to  paint,  with  his  wealth  of  blond  hair  falling  down 
on  his  shoulders.  The  clear,  dark  brown  eyes  have  an  appealing  ex- 
pression as  they  look  directly  at  the  observer.  The  figure  is  seen  at 
half  length,  the  arms  and  upper  part  of  the  body  being  covered  by  a 
gray  silk  mantle,  which  falls  from  his  right  shoulder  in  many  thick 
folds.  A  high  white  collar  fits  snugly  up  under  the  well  modelled 
chin,  over  a  silk  jacket  buttoned  together  in  front.  The  poise  and  life- 
like expression  of  the  head,  the  beautiful  tones  of  the  flesh,  and  the 
rendition  of  the  textures  of  the  hair  and  silk  mantle  are  features  of 
this  altogether  lovely  portrait. 

Bought  from  P.  and  D.  Colnaghi,  London. 

Illustrated 


[24] 


No.  26 
A  YOUNG  PRINCE 
Van  Dyck 


No.  27 


George  Romney 

17 34-1802 

JOHN  OLDHAM 

Canvas.   Height,  12^/^  inches;  width,  inches 

THIS  small  canvas  shows  a  quarter  life-size  bust  portrait  of  a 
middle-aged  man,  his  head  turned  three  quarters  to  the  right. 
He  wears  a  brown  coat  with  wide  collar  and  brass  buttons,  open  to 
show  a  red  waistcoat  turned  back  at  the  neck  over  a  white  stock.  His 
hair  is  powdered  and  falls  in  a  queue  at  the  back. 

No.  28 

George  Romney 

1734-1S02 

BELIZA  OLDHAM 

Canvas.   Height,  12]/^  inches;  vv^idth,  inches 

THIS  companion  bust  portrait  shows  a  handsome  woman  whose 
face,  still  young,  is  framed  in  a  high  coiffure  of  powdered  hair. 
Her  expression  is  one  of  serene  dignity,  and  her  whole  bearing  is  that 
of  race  and  breeding.  She  wears  a  high  collar  and  a  lace  fichu,  and  on 
her  head  rests  a  dainty  cap  with  streamers  falling  down  in  a  large  bow 
about  her  neck. 

Both  bought  of  Thomas  Agnew  &  Sons,  London. 

n25] 


No.  29 

William  Hogarth 

i6g'j-i'j64 

MR.  HAMILTON 
Canvas.   Height,  283^  inches;  width,  24  inches 

SEEN  at  half  length,  his  fine,  frank,  ruddy  face  looks  out  at  one 
with  clear  blue  eyes  and  with  an  expression  of  satisfaction  with 
himself  and  the  world.  He  is  becomingly  dressed  in  a  coat  of  blue 
cloth  with  brass  buttons  and  a  high  collar,  over  a  gaily  flowered  waist- 
coat, into  which  his  right  hand  is  thrust.  About  the  neck  is  a  white 
collar  and  jabot,  and  white  ruffles  encircle  the  wrist.  On  his  head  is  a 
white  curled  and  powdered  wig. 

Bought  from  George  Douglas  Hamilton,  Esq.,  London,  a  descendant  of  the  subject. 


[26n 


No.  30 

John  Hoppner 

I" 58-1810 

COUNTESS  OF  CLARENDON 

Oval  canvas.    Height,  27^  inches;  w^idth,  23  inches 

SEEN  at  half  length,  this  young  woman  is  portrayed  with  her  face 
and  eyes  turned  three  quarters  to  the  right  and  brought  effec- 
tively forward  by  a  warm  red  background.  Her  luxuriant  dark  brown 
hair  is  massed  high  on  her  head,  confined  by  a  pink  ribbon  fillet,  and 
falls  in  curls  down  upon  her  shoulders.  She  wears  a  black  silk  mantle, 
finished  at  the  top  with  a  ruching,  which  is  low  enough  to  show  a  broad 
neckerchief  of  soft  white  material,  which  crosses  her  bosom. 


Bought  of  Charles  Sedelmeyer,  Paris. 


[27] 


No.  31 

Sir  Thomas  Lawrence 

1769-1830 

HON.  MRS.  BECKFORD,  OF  FONTHILL,  WILTSHIRE 

Canvas.    Height,  84  inches;  width,  57  inches 

THIS  Striking  life-size,  full-length  presentment  of  a  well  known 
English  beauty  of  the  period  shows  the  subject  standing  in  the 
portico  of  a  stately  country  house,  looking  directly  out  of  the  canvas. 
Tall  columns  rise  at  either  side,  with  a  brown  curtain  draped  at  the 
left.  She  rests  her  right  arm  on  a  green  leather  portfolio,  which  in 
turn  rests  on  a  green-covered  table  before  her,  and  holds  a  pencil  in 
her  right  hand.  In  her  left  is  a  half  rolled  up  map.  A  pile  of  books, 
richly  bound  in  red,  with  some  mezzotints,  are  carelessly  strewn  on  the 
table,  while  a  large  globe  stands  below  in  the  left  corner  of  the  canvas. 

She  is  handsomely  gowned  in  a  robe  of  red  velvet,  cut  low  in  the 
neck,  with  short  sleeves,  and  about  her  neck,  falling  down  the  front  of 
her  dress,  is  a  long  white  scarf.  A  necklace  encircles  her  throat,  and 
on  her  bare  arm  is  a  bracelet.  A  beautiful  landscape  stretching  away 
in  the  distance,  under  a  blue  sky  flecked  with  clouds,  forms  the  back- 
ground. The  natural  and  dignified  pose  and  the  expression  of  serious 
thoughtfulness  make  this  a  portrait  of  great  distinction. 

Illustrated 


[28] 


No.  31 


HON.  MRS.  BECKFORD, 
OF  FONTHILL,  WILTSHIRE 

Lawrence 


No.  32 

George  Morland 

1763-1804 

A  HUNTER  AND  TWO  FISHERMEN 

Canvas.    Height,  173/2  inches;  width,  23  inches 

SEATED  on  a  white  horse,  followed  by  a  dog,  a  farmer  is  seen 
crossing  a  small  rustic  bridge  which  spans  a  creek.  He  halts  his 
horse  to  talk  to  two  men  below,  who  are  fishing  with  a  net  in  the 
stream.  A  gnarled  tree  rises  at  the  left,  beyond  which,  across  a 
meadow,  a  red-roofed  cottage  is  seen.  The  rural  scene  is  typically 
English,  and  the  air  is  pervaded  by  a  feeling  of  spring  rain. 

Bought  of  Thomas  McLean,  London. 


[29] 


No.  33 

John  Constable 

1776-1837 

VIEW  NEAR  EAST  BERGHOLT 
Canvas,  signed  and  dated  "East  Bergholt,  181 7."  Height,  39^^  inches;  width,  6i>^  inches 

THIS  unusually  important  example  of  the  great  English  land- 
scape painter  shows  a  wide  expanse  of  rolling  country  with  field 
and  harvested  grain  stacks  in  the  middle  distance,  sloping  away  to  a 
winding  river.  A  group  of  townspeople  in  the  central  foreground 
includes  a  man  in  a  tall  hat,  who  is  pointing  out  the  beauties  of  the 
scene  to  two  women  and  two  children,  which  they  are  enjoying  with 
the  aid  of  a  telescope.  Beyond  them  a  shepherd  is  driving  a  flock  of 
sheep  down  the  roadway  which  leads  from  the  foreground.  Two  horse- 
men in  red  hunting-coats  rest  in  the  shade  of  the  trees  that  form  a 
small  wood  at  the  right.  A  sky  filled  with  summer  clouds  bends  down 
to  a  range  of  low  hills  that  mark  the  horizon.  The  picture,  with  its 
sense  of  space  and  light,  carries  a  feeling  of  the  beautiful  English 
country  that  is  exceptional  even  with  this  master. 

Bought  of  Charles  Sedelmeyer,  Paris. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1906. 

Illustrated 


[30] 


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No.  34 

James  Stark 

1 7 94- 1 8 59 

LANDSCAPE  WITH  FIGURES 
Canvas.   Height,  17^  inches;  width,  23 J4  inches 

SEATED  on  the  low  rail  of  a  rustic  bridge,  a  boy  in  shirt  sleeves 
and  a  red  waistcoat  is  fishing  in  the  stream.  An  older  fisherman, 
his  pole  over  his  shoulder,  stands  at  the  far  end  of  the  bridge,  chatting 
with  a  country  lass,  who,  clad  in  a  brown  dress  and  with  a  small  bonnet 
on  her  head,  is  seated  on  a  stile.  Two  rustic  cottages  are  seen  on  the 
right,  and  a  rolling  landscape  stretches  away  in  the  distance  under  a 
soft  blue  sky  flecked  with  summer  clouds. 

Bought  of  Charles  Sedelmeyer,  Paris. 


No.  35 

Sir  Joshua  Reynolds 

ij23-iTg2 
LORD  LIFFORD 

Canvas.    Height,  29  inches;  width,  24  inches 

THE  eminent  and  stern-faced  subject,  who  was  born  James  Hewitt 
and  became  Viscount  of  LifFord  and  Lord  Chancellor  of  Ire- 
land, looks  directly  from  the  canvas  at  one  with  calm,  unflinching 
eyes.  His  face,  which  is  aglow  with  health,  is  framed  in  a  long  judi- 
cial white  wig,  and  he  is  clothed  in  his  Lord  Chancellor's  robe  of  black 
silk,  ornamented  with  bands  of  gold  braid  on  the  shoulders,  and  open 
at  the  front  to  show  his  white  collar  and  lace  jabot.  Lord  LifFord  sat 
to  Reynolds  in  the  last  year  of  the  arcist's  career,  before  semi-blindness 
overtook  him.  Sir  Joshua  also  painted  a  large  full-length  portrait  of 
him  in  1788,  in  his  robes  of  office. 

Collection  of  Lord  Waterpark,  1894. 


1:32] 


No.  36 

Sir  Thomas  Lawrence 

i76g-i83o 
CARDINAL  CONSALVI 

Canvas.    Height,  93  inches;  width,  60  inches 

IN  this  interesting  canvas  the  white-haired  Cardinal  is  shown  at  full 
length,  seated  in  a  large  chair,  facing  the  observer.  He  wears  the 
red  robe  of  his  office  with  a  red  mantle,  from  beneath  which  protrude 
his  white  sleeves  with  lace  cuffs.  In  his  right  hand  he  holds  his  biretta 
and  some  folded  white  papers,  while  his  left  rests  on  the  table  with 
palm  upturned.  His  thin  white  hair  is  crowned  with  a  small  red  cap. 
A  red  curtain  is  draped  at  the  back,  and  through  an  opening  at  the  left 
is  seen  a  glimpse  of  a  distant  landscape.  Consalvi  was  Secretary  of 
State  under  Pius  VII  and  negotiated  the  Concordat  with  Napoleon. 
He  was  imprisoned  for  three  years  at  Rheims,  and  when  released  re- 
turned to  Rome.  He  sat  to  Lawrence  during  the  artist's  visit  to  Rome 
in  1819,  the  canvas  being  at  Windsor  Castle.  The  present  picture,  of 
smaller  size,  is  a  replica  of  the  Windsor  portrait. 

Listed  in  Armstrong's  Portraits  by  Lawrence. 
Sold  at  Christie's,  London,  July,  19 10. 


II33!] 


No.  37 
George  Romney 

LADY  BENTINCK 

Canvas.    Height,  29  inches;  width,  24  inches 

SEEN  at  half  length,  her  youthful  face  and  frank,  dark  brown 
eyes  look  directly  at  the  observer.  The  artist  has  portrayed  his 
fair  subject  in  a  silver  gray  dress  with  low,  square-cut  bodice.  Her 
right  arm  rests  on  a  ledge  and  her  hand  is  turned  across  her  waist  in  a 
most  natural  and  easy  pose.  A  narrow  light  gray  scarf  is  draped  about 
her  shoulders  and  joins  the  red  sash  at  her  waist.  Her  luxuriant 
auburn  hair  is  dressed  high  and  crowned  by  a  light  gray  cap,  with 
tresses  falling  about  her  neck.  Her  expression  is  one  of  serene  con- 
tentment. At  the  left  a  red  scarf  is  draped  over  her  right  arm,  beyond 
which  the  background  shows  a  landscape  with  a  late  afternoon  sky,  its 
clouds  flushed  with  pink.  Lady  Bentinck  was  the  eldest  daughter  of 
the  Duke  of  Portland. 

Bought  of  Thomas  Agnew  &  Sons,  London. 
Collection  of  Mrs.  C.  Aldenburgh  Bentinck,  England. 

Described  in  Ward  and  Roberts'  Catalogue  Raisonne  of  Works  by  Romney. 
Exhibited  at  the  Grafton  Gallery,  London,  1900. 

Illustrated 


C34] 


No.  37 
LADY  BENTINCK 
.  Romney 


No.  38 

John  Hoppner 

1J58-1S10 

GENERAL  EDMUND  PHIPPS 

Canvas.    Height,  30  inches;  width,  25  inches 

IN  this  half-length  presentment  of  a  gallant  British  officer  the  artist's 
craftsmanship  is  seen  at  its  best.  Striking  and  lifelike  is  the  ex- 
pression of  the  handsome  middle-aged  soldier,  with  his  slightly  gray- 
hair,  as  he  looks  out  at  one  from  clear  gray  eyes.  He  wears  the  red 
uniform  of  an  English  army  officer,  with  its  black  revers  and  under- 
stock, its  gilt  buttons  and  epaulettes.  The  subject  is  Edmund,  son  of 
Constantine  Phipps,  who  became  Lord  Mulgrave.  He  was  born  in 
1760,  became  a  general  in  the  British  army,  and  died  unmarried  in 

1837. 

Collection  of  the  Earl  of  Normanby. 

Listed  in  McKay  and  Roberts'  Catalogue  Raisonne  of  Works  by  Hoppner. 


[353 


No.  39 

George  Romney 

1734-1802 

GENERAL  SIR  ARCHIBALD  CAMPBELL 

Canvas.    Height,  60  inches;  width,  48  inches 

IN  this  canvas  the  artist  has  presented  a  striking  and  virile  portrait 
of  the  British  General  who  served  in  the  American  campaign  and 
was  wounded  at  the  taking  of  Quebec  by  Wolfe.  The  handsome  fig- 
ure of  the  sturdy  military  man  is  seen  nearly  at  full  length,  standing 
with  his  hands  crossed,  resting  on  the  top  of  a  black  cane  and  holding 
his  black  cocked  hat  in  his  right  hand.  His  face  is  clean-shaven,  and 
his  eyes  regard  the  beholder  with  a  serious  expression.  He  wears  a 
curled  white  wig  according  to  the  fashion  of  the  time.  He  is  clothed 
in  a  red  military  coat,  buttoned  high  over  a  white  linen  stock,  the  coat- 
tails  falling  away  over  white  waistcoat  and  knee-breeches.  The  gilt 
sword-hilt  is  just  revealed  under  the  skirt  of  the  coat.  Gilt  buttons 
are  on  the  coat  and  gilt  bars  on  the  sleeves,  while  on  his  left  breast  he 
wears  a  British  Order  with  sun-rays.  In  the  background  are  seen  the 
fortifications  of  Fort  George,  Madras,  recalling  the  fact  that  he  was 
Governor  and  Commander-in-Chief  on  the  Coromandel  Coast,  India, 
in  1787.  He  died  in  1791. 

Bought  of  Thomas  Agnew  &  Sons,  London. 
Painted  in  1790. 

Collection  of  General  J.  Studholm  Brownrigg. 
Collection  of  Canon  T.  S.  Brownrigg. 

Exhibited  at  the  Royal  Academy  Exhibition  of  Old  Masters,  1882. 
Exhibited  at  the  Grafton  Gallery,  London,  1900. 
Listed  in  Ward  &  Roberts'  Portraits  by  Romney. 
Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1905. 

Illustrated 


1:36] 


No.  39 

GENERAL  SIR  ARCHIBALD  CAMPBELL 

XT) 

Romney 


i 
I 

i 

I 

No.  40 

Sir  Thomas  Lawrence 

1769-1830 

MISS  GEORGINA  LENOX 

Canvas.    Height,  25^  inches;  width,  21  inches 

THE  attractive  young  woman  is  seen  turned  three  quarters  to  the 
left  and  seated.  She  wears  a  white  dress  with  a  blue  scarf  fall- 
ing across  the  shoulder,  held  by  a  jewelled  strap  which  is  fastened 
to  a  brooch  set  with  a  ruby  and  drop  pearls  in  the  centre  of  her  cor- 
sage. Her  dark  hair  falls  in  loose  curls.  Lawrence  painted  a  por- 
trait of  Miss  Lenox  about  the  time  of  his  first  settling  in  London,  She 
was  the  third  daughter  of  Lord  George  Lenox,  married  Lord  Apsley 
in  1789,  and  died  in  1841  at  the  age  of  seventy-five. 


No.  41 

John  Constable 

1776-1837 

HAMPSTEAD  HEATH 

(A  Sketch) 
Canvas.    Height,  12  inches;  width,  15  inches 

THIS  is  one  of  the  many  variants  of  this  favourite  study  of  the 
artist.  At  the  base  of  a  hill  rising  on  the  right,  a  company  of 
gypsies  are  grouped  around  a  cart.  Beyond  the  hill  stretches  out  a 
rolling  landscape  under  a  cold  autumn  sky,  across  which  roll  masses 
of  dark  clouds.  A  sense  of  space  pervades  the  little  canvas,  and  a 
feeling  of  the  open,  which  is  expressed  with  great  power.  A  variant 
of  this  picture  hangs  in  the  South  Kensington  Museum. 

No.  42 

George  Morland 

1763-1804 

AN  OLD  MILL 

Canvas.    Height,  133^  inches;  width,  17  inches 

AN  old  English  mill  with  its  thatched  roof  rises  at  the  left,  the 
water  running  from  the  wheel  into  a  pool  in  the  foreground, 
where  a  flatboat  is  drawn  up.  A  farmer,  riding  a  white  horse,  leads 
another  which  he  has  brought  to  water,  but  stops  to  speak  to  a  woman 
who  leans  from  a  window  of  the  mill.  Beyond,  tall  oak  trees  rise 
against  a  summer  sky. 

Bought  of  Charles  Sedelmeyer,  Paris. 

1:38] 


No.  43 


George  Morland 

1763-1804 

IN  COACHING  DAYS 

Canvas,  signed  and  dated  1792.    Height,  14  inches;  width,  12  inches 

BEFORE  a  cottage  door,  on  a  wintry  morning,  two  young  men  are 
seen  in  converse  with  a  young  woman.  She  is  clad  in  a  blue  dress 
with  long  white  apron,  and  wears  a  kerchief  and  cap.  One  youth  is  in 
a  long  gray  coat  and  holds  a  long  whip  in  his  hand,  while  his  com- 
panion, more  gaily  attired  in  blue  and  red,  seizes  the  girl  by  the  wrist. 
A  red  coach  from  which  they  have  just  alighted  stands  in  the  back- 
ground. The  ground  and  trees  beyond  are  covered  with  snow. 


No.  44 

Richard  Co  sway  {Attributed) 

1J40-1821 

PORTRAIT  OF  A  LADY 

Oval  canvas.    Height,  13  inches;  width,  10^  inches 

THIS  small  portrait  of  an  attractive  young  woman  presents  her  in 
half  length,  seated,  with  one  arm  resting  on  the  end  of  a  sofa. 
In  her  left  hand  she  holds  a  closed  fan.  Her  features  are  becomingly 
set  off  by  a  large  hat  of  black  velvet  topped  with  plumes.  Her  pow- 
dered hair  is  puffed  about  her  forehead  and  falls  in  curls  about  her 
neck. 


[39] 


No.  45 


George  Romney 


1734-1802 


MRS.  THOMAS  RAIKES  AND  CHILD 


Canvas.    Height,  49  inches;  width,  39  inches 


kT  the  base  of  a  tall  tree,  clothed  in  a  simple  dark  gown  with  a 


.xV.  white  fichu,  this  sweet-faced  young  mother  clasps  to  her  bosom 
her  daughter  of  some  five  or  six  years,  who  is  seated  on  her  lap.  The 
mother's  face  is  seen  in  three-quarters  view  turned  to  the  front,  and 
looks  from  the  canvas  with  a  gaze  of  contentment  and  motherly  pride. 
Her  brown  hair  is  powdered  in  front  and  held  by  a  ribbon,  but  falls  in 
curls  on  the  back  of  her  neck.  The  brown-haired  child,  who  wears  a 
short  white  frock  with  a  blue  sash  and  red  slippers,  nestles  her  head 
lovingly  against  her  mother's  right  shoulder.  Above  a  balustrade  at 
the  left,  a  landscape,  stretching  away  to  distant  blue  hills,  under  a 
tender  sky,  forms  the  background.  The  composition  is  graceful  and 
the  sentiment  most  engaging  and  poetical.  Mrs.  Raikes  was  the 
daughter  of  the  Hon.  Henry  Finch,  younger  son  of  the  Earl  of  Not- 
tingham. In  1774  she  married  Thomas  Raikes,  who  became  Governor 
of  the  Bank  of  England.  He  was  also  Chancellor  of  the  diocese  of 
Chester. 

Painted  in  1786. 

Described  in  Ward  and  Roberts'  Catalogue  Raisonne  of  Works  by  Romney. 
From  the  family  the  picture  came  into  the  possession  of  J.  Ruston,  Esq. 


Illustrated 


No.  45 


MRS.  THOMAS  RAIKES  AND  CHILD 

Romney 


No.  46 

Sir  Thomas  Lawrence 

I76g-i830 

MRS.  WILLIAMSON  AS  MIRANDA 
Canvas.    Height,  94  inches;  width,  58  inches 

THE  subject  is  seen  at  full  length,  dressed  in  a  white  gown  of  the 
utmost  simplicity.  She  extends  her  right  hand  as  though  point- 
ing toward  the  sea,  which  stretches  away  in  the  background,  suggest- 
ing the  character  of  Miranda  in  Shakespeare's  "Tempest."  With  her 
left  hand  she  holds  back  her  dress.  Red  flowers  are  seen  at  her  feet 
at  both  right  and  left,  also  at  the  upper  right-hand  corner  of  the  canvas. 

Bought  of  Sulley  &  Co.,  London. 
Exhibited  at  the  Berlin  Royal  Academy. 


No.  47 


Sir  Martin  Archer  Shee 

1769-1850 

PORTRAIT  OF  CHARLES  KEMBLE 

Canvas.    Height,  28^/2  inches;  width,  23^  inches 

IT  was  through  his  portraits  of  actors  that  Shee  first  won  recognition 
of  his  talent  when  he  came  over  to  London  from  his  Irish  home. 
Being  in  touch  with  the  stage,  it  is  but  natural  that  he  should  have 
found  a  willing  and  attractive  sitter  in  Charles  Kemble,  the  brother 
of  Mrs.  Siddons.  Kemble  was  an  actor  at  eighteen,  and  remained  on 
the  stage  for  fifty  years.   He  died  in  1854. 


No.  48 

Sir  Godfrey  Kneller 

1646-1723 

QUEEN  ANNE 

Canvas.    Height,  20  inches;  width,  16  inches 

THE  Court  Painter  here  presents  his  sovereign  in  quarter  life-size 
at  three-quarters  length,  seated  at  a  table,  her  left  arm  and  hand 
resting  on  her  red  mantle  edged  with  ermine,  which  hangs  from  her 
shoulders.  Her  gown  of  brown  silk  is  cut  low  and  edged  with  lace 
around  the  corsage,  and  the  elbow  sleeves  are  large  and  full.  A  neck- 
lace of  large  pearls  encircles  her  neck,  and  her  hair  is  dressed  low. 


1:42: 


No.  49 


W.  J.  Shayer 


ARRIVAL  OF  THE  COACH 


Panel,  signed.   Height,  103/2  inches;  width,  17  inches 


HE  scene  shows  a  coach,  drawn  by  two  white  leaders  and  two  bay 


X  wheelers,  coming  to  a  halt  before  a  village  inn.  There  are  seven 
outside  passengers  on  the  top,  while  a  hostler  stands  at  the  left  with 
four  fresh  horses,  awaiting  the  change  soon  to  be  made.  From  the  inn 
door  several  passengers  emerge  with  their  luggage. 


HIS  companion  scene,  of  the  old  coaching  days  in  England, 


X  shows  the  coach  before  a  country  inn.  A  lone  outside  passenger 
sits  on  the  top,  watching  the  sturdy,  fat  hostler,  in  his  shirt  sleeves, 
bring  up  two  fresh  leaders,  while  a  fellow  stableman  completes  the 
harnessing  of  the  wheel  pair.  The  ruddy-faced,  buff-coated  guard 
reads  a  letter  near  by. 

Both  bought  of  Arthur  Tooth  &  Sons,  London. 


No.  50 


W.  J.  Shayer 

i788-i87g 


CHANGING  HORSES 


Panel,  signed.    Height,  loYz  inches;  width,  17  inches 


1:43: 


No.  51 

George  Romney 

1J34-1802 

MRS.  GROVE 

Canvas.    Height,  50  inches;  width,  40  inches 

THIS  beautiful  young  woman  is  portrayed  at  three-quarters  length, 
seated  out  of  doors,  her  hands,  folded,  resting  on  her  lap.  She  is 
gowned  in  white  with  high  bodice  and  fichu  covering  her  neck.  A  sash 
about  her  waist  falls  from  a  bow  at  the  back.  Her  powdered  hair  falls 
down  on  either  side  of  the  well  modelled  face,  and  the  head  is  crowned 
by  a  large  black  hat  having  its  brim  upturned  at  the  front  and  a  mass 
of  white  plumes  on  top.  There  is  a  look  of  pensive  sweetness  on  the 
face,  and  the  whole  forms  a  presentment  of  refined,  patrician  woman- 
hood. The  sitter  was  one  of  the  two  daughters  of  Admiral  Pilford, 
renowned  for  their  beauty.  She  married  Thomas  Grove  in  1781  and 
died  in  1828.  Her  sister  Elizabeth  married  Timothy  Shelley  and  was 
the  mother  of  the  English  poet. 

Bought  of  Charles  Sedelmeyer,  Paris,  1903. 

Exhibited  at  the  Royal  Academy  Exhibition  of  Old  Masters  in  1881. 

Sold  at  Christie's,  1897. 

Collection  of  Sir  Thomas  Grove. 

Engraved  in  mezzotint  by  H.  S.  Bridgwater,  1898. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1899. 

Illustrated 


No.  51 
MRS.  GROVE 
Romney 


No.  52 


Johan  Zoffany 


1733-1810 


ANNE  MURRAY  BULLEY 


Oval  canvas.    Height,  11  inches;  width,  9j<^  inches 


HIS  example  of  the  old  Court  Painter  of  George  III  is  marked  by 


seated  at  half  length,  dressed  in  a  gown  of  pink  silk,  with  square-cut 
neck  and  long  pointed  waist.  On  her  head  is  a  mob-cap  trimmed  with 
pink  ribbon,  and  her  elbow  sleeves  are  full  and  trimmed  with  lace. 
About  her  neck  is  a  narrow  black  ribbon,  and  her  powdered  hair  is 
dressed  high. 

Bought  from  Martin  H.  Colnaghi,  London. 


The  young  woman  is  seen 


No.  53 

J.  M.  W.  Turner 

1775-1S51 


BLOWING  UP  OF  THE  Oi^/EA^^- BATTLE  OF  THE  NILE 

Canvas.    Height,  465^  inches;  width,  71  inches 

THIS  is  one  of  the  great  colourist's  most  dramatic  sea  pieces,  and 
shows  the  harbour  of  Alexandria,  where  this  famous  battle  was 
fought  under  the  great  Nelson,  August  i,  1798,  and  at  the  most  dra- 
matic moment  of  the  conflict,  when  the  battle-ship  Orient  had  just 
blown  up.  The  interest  of  the  picture  centres  in  the  Orient,  from 
whose  hulk  lurid  flames  rise  to  illumine  sea  and  sky.  Only  the  stump 
of  her  foremast  remains  standing,  but  the  flames  have  not  yet  reached 
the  mainmast,  which,  with  square  sails  set  and  royal  ensign  flying,  is 
lit  by  the  glow  of  the  conflagration.  At  the  right  the  city  of  Alex- 
andria is  seen  flame  swept,  with  lofty  towers  in  the  background,  while 
on  the  left  five  ships  of  the  line  are  moving  past,  their  guns  belching 
fire.  At  the  left  another  battle-ship  has  its  masts  shot  away,  one  hav- 
ing fallen  with  its  sails  floating  in  the  water.  In  the  foreground  a  gig 
with  six  sailors  is  engaged  in  the  work  of  rescuing  some  men  in  the 
water.  Clouds  of  smoke  obscure  the  sky,  lit  here  and  there  on  their 
under  surface  by  the  flames  from  the  burning  ship. 

Collection  of  the  late  Mr.  Joseph  Prior,  Fellow  of  Trinity  College,  Cambridge. 
Exhibited  at  the  Nineteenth  Century  Gallery,  London,  1886. 

First  exhibited  at  the  Royal  Academy  in  1799,  and  gained  the  artist  admission  as 
an  Associate  Member  of  that  body. 

Illustrated 


1:463 


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No.  54 

Sir  Joshua  Reynolds 

1723-1792 

JOHN  BARKER 
Canvas.   Height,  67  inches;  width,  46  inches 

THIS  Sturdy,  corpulent  and  ruddy-faced  old  gentleman  who  sits  in 
a  huge  chair,  one  arm  of  which  he  firmly  clasps,  was  a  London 
merchant,  born  in  1707,  but  became  famous  as  an  engineer  and  the 
projector  of  the  harbor  and  pier  at  Ramsgate,  on  the  southeastern  coast 
of  England.  A  curled  white  wig  frames  his  rotund,  clean-shaven  face, 
and  his  right  arm  rests  on  a  paper,  on  which  appears  a  drawing,  spread 
upon  the  table.  He  wears  a  red  coat  with  falls  of  lace  about  the 
wrists,  and  a  wall  and  column  form  the  background,  save  at  the  left, 
where  an  opening  reveals  a  glimpse  of  a  landscape.   He  died  in  1787. 

Painted  in  1786. 

Engraved  by  J.  Jones  in  1786. 

Described  in  Graves  and  Cronin's  "Works  of  Sir  Joshua  Reynolds." 
Listed  in  Armstrong's  Catalogue  of  Portraits  by  Reynolds. 


1:473 


No.  55 

George  Romney 

17 34-1802 

MARIA  ARCHER 

Canvas.    Height,  29  inches;  width,  24  inches 

THIS  half-length  presentment  shows  a  young  woman  with  a  fresh 
English  complexion,  about  whose  face  falls  a  mass  of  auburn 
hair  reaching  in  curls  to  her  shoulders.  She  wears  a  blue  gown,  and 
across  her  shoulders  and  breast  is  drawn  loosely  a  fichu  of  thin  white 
fabric,  held  in  place  by  a  blue  sash.  A  blue  ribbon  fillet  holds  her  hair 
in  place.  The  subject  was  a  daughter  of  Lord  Archer  of  Umberslade. 
She  was  born  in  1763,  married  Henry  Howard  in  1788,  and  died  in 
1789  when  twenty-six  years  of  age. 

Sold  at  Christie's  in  1899. 

Bought  from  Thomas  Agnew  &  Sons,  London. 

Listed  in  Ward  and  Roberts'  Catalogue  Ralsonne  of  Works  by  Romney. 


1:48: 


No.  56 

Cornells  Janssens  van  Ceulen 

i5go-i664 
SIR  NICHOLAS  BACON 

Canvas.    Height,  45  inches;  width,  37^  inches 

STANDING  at  three-quarters  length,  holding  a  long,  elaborately 
ornamented  mace  over  his  right  shoulder,  this  impressive  figure  is 
one  of  marked  dignity.  He  wears  a  light  brown  beard  and  mustache 
touched  with  gray.  His  doublet  of  black  velvet  is  slashed  to  show  the 
white  shirt  beneath,  the  long,  full  sleeves  ending  in  wide  cuffs  edged 
with  lace.  A  wide  ruff  edged  with  lace  encircles  his  neck.  In  his  left 
hand  he  holds  his  brown  gloves.  In  the  upper  right-hand  corner  of  the 
canvas  is  the  Bacon  crest,  a  white  eagle  on  a  shield;  also  the  inscription, 
"Aetatis  suae  60.  Anno  Domini  1617." 


U9l 


No.  57 

Sir  Peter  Leiy 

1618-1680 

DUCHESS  OF  PORTSMOUTH 
Canvas.   Height,  50  inches;  width,  40  inches 

THIS  subject  Sir  Peter  painted  many  times,  inspired  by  her  volup- 
tuous brunette  beauty.  In  the  present  canvas,  the  Court  Painter 
has  posed  her  seated  beneath  a  spreading  oak  tree  with  a  landscape 
setting.  She  is  clad  in  a  loose  gown  of  rich  red  material,  fastened  by 
a  brilliant  ruby.  The  gown,  bordered  by  a  lace  fichu,  falls  away  from 
the  neck  and  bosom.  The  wide  half-sleeves  are  finished  with  falls  of 
lace  above  the  elbows.  A  blue  scarf  is  draped  over  her  left  shoulder 
and  falls  across  her  lap.  Her  dark,  curling  hair,  falling  low  on  the 
forehead,  accentuates  the  rich  olive  complexion.  She  holds  a  staff  in 
her  left  hand.  This  French  woman,  Louise  Renee  de  Kerouaille,  of 
Brittany,  was  sent  to  England  by  Louis  XIV  to  attract  and  captivate 
Charles  II,  which  she  did.  He  made  her  Duchess  of  Portsmouth,  and 
later  Duchess  of  Richmond,  and  she  was  the  mother  of  the  Duke  of 
Richmond,  natural  son  of  Charles  II. 

Bought  at  Christie's,  London,  1898. 
Collection  of  Sir  Allan  Campbell. 

Illustrated 


No.  57 

DUCHESS  OF  PORTSMOUTH 
Lely 


No.  58 

Sir  Joshua  Reynolds 

PORTRAIT  OF  A  MAN 

Canvas.    Height,  49  inches;  width,  39  inches 

SEATED  in  a  red  chair  beside  a  writing-table,  in  three-quarters 
length,  a  fine-looking  man  of  judicial  mien  holds  a  round  gold- 
rimmed  snuff-box  in  his  left  hand,  which  rests  on  his  lap.  His  face, 
seen  in  three-quarters  view,  is  framed  in  a  white  wig  as  he  looks  se- 
renely out  of  the  canvas  toward  the  right.  He  wears  a  black  coat 
thrown  back  over  a  brown  waistcoat,  a  white  neckcloth,  and  falls  of 
lace  about  his  hands.  On  the  table  are  some  papers,  and  from  the  ink- 
pot a  quill  pen  stands  upright.  The  subject  has  not  been  identified, 
but  may  be  Richard  Robinson,  Archbishop  of  Armagh,  whom  Reynolds 
painted  several  times  about  1775. 


No.  59 


Henry  Singleton 

1766-1820 

IDLENESS 

Canvas.    Height,  16  inches;  width,  13  inches 

THIS  picture  shows  a  group  of  children  gathered  about  a  basket  of 
doves,  from  which  one  or  more  have  escaped.  The  owner  sits  at 
the  right,  asleep.  In  the  background  stands  a  cottage  shaded  by  a 
clump  of  tall  trees. 


No.  60 

Henry  Singleton 

1766-1820 

INDUSTRY 

Canvas,   Height,  16  inches;  width,  13  inches 

THIS  companion  picture  of  English  rural  life  shows  a  group  of 
children,  one  of  whom,  led  by  an  old  woman,  brings  a  basket  of 
fruit  to  a  village  door.  Two  other  children  sit  in  the  background, 
interested  in  a  paper  which  they  hold  in  their  hands. 


[:52: 


No.  6i 


Richard  Parkes  Bonington 

1801-1828 

THE  HOSPITAL  AT  GREENWICH 

Panel.   Height,  6^  inches;  width,  6  inches 

PAINTED  in  a  high  key  in  soft  ivory  tones,  mellowed  by  time,  the 
imposing  buildings  of  the  Naval  Hospital  at  Greenwich  are 
seen  rising  above  the  quay  that  stretches  along  the  Thames.  Some 
luggers  are  moored  in  the  foreground  and  numerous  boatmen  and 
marketwomen  are  gathered  here  and  there.  This  is  a  work  of  Bon- 
ington's  last  year,  and,  like  its  companion,  shows  the  artist's  roman- 
tic and  delicate  personality.  After  returning  from  Italy  he  went 
to  England,  in  1828,  to  visit  Sir  Thomas  Lawrence.  Most  of  his  life 
had  been  passed  in  France,  where  he  painted  views  of  provincial  towns 
and  coast  scenes.  At  the  end  of  his  short  life  he  regretted  that  he  had 
painted  no  large  pictures,  but  it  would  be  difficult  to  find  two  more 
charming  examples  of  his  refined  and  colourful  palette  than  the  two 
of  this  collection. 

Bought  from  the  McLean  Galleries,  London. 


No.  62 


Sir  Joshua  Reynolds 

i'j2s-i'jg2 
DUCHESS  OF  ANCASTER 

Canvas.    Height,  35  inches;  width,  27  inches 

THIS  canvas  shows  the  half-length  presentment  of  a  handsome 
English  woman,  not  in  her  premiere  jeunesse^  but  still  youthful 
in  appearance.  She  is  seen  seated  at  a  covered  table,  on  which  rests  an 
open  book.  Her  right  arm  lies  on  the  table,  while  her  left  is  raised  to 
her  neck.  She  wears  a  loose  peignoir  of  pink  color  over  a  low-cut  white 
bodice,  and  a  long  strand  of  luxuriant  hair  falls  over  her  right  shoul- 
der. Her  hair  is  brushed  high  above  her  brow  and  crowned  with  a 
small  cap,  and  from  her  ear  hangs  a  pear-shaped  pendant.  Her  eyes, 
which  look  directly  at  the  observer,  have  a  serious  expression,  and  the 
pose  is  one  of  ease  and  naturalness. 

The  picture  was  given  by  the  Duchess  to  Lady  Delawarre. 

In  Sir  Joshua  Reynolds'  notes  on  his  pictures,  among  the  items  of  accounts  is 
the  entry:  "Duchess  of  Ancaster.  Her  Picture  given  to  Lady  Delawarre,  50 
Guineas." 

Purchased  from  Earl  Delawarre,  1896. 

Painted  in  1758.    Engraved  by  Houston  in  1758,  later  by  James  Watson  and 

C.  Spooner. 
Collection  of  William  Beattie,  Esq.,  Glasgow. 
Collection  of  Earl  Delawarre. 
Collection  of  Lord  Waterpark. 

Listed  in  Armstrong's  Catalogue  Raisonne  of  Works  by  Reynolds. 
Illustrated  in  Graves'  "Works  by  Sir  Joshua  Reynolds." 

Illustrated 


1:543 


No.  62 

DUCHESS  OF  ANCASTER 
Reynolds 


No.  63 

Cornells  Janssens  van  Ceulen 

i5go-i664 
GENERAL  ROBERT  DE  VERE 

Panel,  signed  and  dated  1629.    Height,  30  inches;  width,  25  inches 

THE  distinguished  soldier  is  portrayed  at  half  length,  his  face, 
wearing  a  somewhat  stern  yet  not  unpleasant  expression,  framed 
in  luxuriant  dark  locks.  He  wears  a  wide  white  lace  collar  over  a  red 
cape  which  falls  over  his  suit  of  armour.  The  subject  was  the  son  of 
Hugh  de  Vere,  nineteenth  Earl  of  Oxford,  and  succeeded  to  the  title 
in  1626.  He  was  assassinated  at  Maestricht  in  1632. 

No.  64 

Sir  Joshua  Reynolds 

1723-1792 

PORTRAIT  OF  A  MAN 

Canvas.    Height,  49  inches;  width,  39  inches 

WITH  face  turned  full  toward  the  observer,  a  man  wearing  a 
white  wig  is  seated  beside  a  table,  on  which  he  is  holding  with 
his  left  hand  a  large  tome  upright,  while  with  his  right  hand  he  points 
to  a  Latin  text  inscribed  on  a  page  of  the  book.  He  is  clothed  in  a 
brown  suit,  and  about  his  shoulders  is  gathered  a  blue  shawl.  From 
the  end  of  the  table  on  the  right  hangs  some  architect's  working  imple- 
ments, above  which  is  the  date  1765.  On  the  open  book  is  inscribed, 
"Anno  Domini  Henrici  III." 


No.  65 


John  Hoppner 


1758-1810 


PORTRAIT  OF  A  LADY 


Canvas.    Height,  11 34  inches;  width,  9^/2  inches 


HIS  attractive  little  portrait  of  a  lady  of  high  degree  is  freely 


X  painted  and  shows  the  excellent  craftsmanship  of  the  English 
artist.  The  subject  is  presented  at  half  length  in  a  quarter  life-size, 
leaning  slightly  forward.  She  wears  a  dress  of  creamy  white,  with 
low-cut  bodice  and  large  full  sleeves  with  narrow  black  sleeve-bands 
and  a  sash  of  black  velvet.  Her  black  mantle  is  drawn  round  and  held 
across  her  lap.  Her  luxuriant  hair  is  powdered  and  falls  in  curls  over 
her  shoulders,  framing  her  brilliant  complexion  and  snowy  neck. 


No.  66 


William  Hogarth 


PEG  WOFFINGTON 


Canvas.    Height,  283^  inches;  width,  233/2  inches 


HE  subject  is  portrayed  seated  at  half  length,  very  erect,  her 


X  dark  eyes  looking  directly  at  the  spectator.  She  is  attractively 
gowned  in  a  low-necked,  square-cut  dress  of  white,  edged  with  a  lace 
ruffle  around  the  top  of  the  corsage,  and  having  elbow  sleeves,  which 
end  in  wide  falls  of  lace.  The  front  of  the  bodice  is  covered  with  a 
pointed  stomacher,  patterned  with  pink  guipure,  and  on  her  lap  is  a 
mass  of  loose  flowers  gathered  on  a  white  cloth,  which  she  holds  with 
her  right  hand.  On  her  head,  with  its  black  hair  smoothly  brushed, 
rests  a  dainty  cap  of  pink  silk  and  white  lace. 


No.  67 

J.  M.  W.  Turner 

1775-1S51 

ST.  GOTHARD  PASS— THE  DEVIL'S  BRIDGE 

Canvas.   Height,  3 1  inches ;  width,  24^  inches 

THIS  interesting  early  example  of  the  artist  portrays  a  wild  and 
awesome  scene.  A  narrow  and  graceful  bridge  of  stone  spans 
with  a  single  arch  the  deep  narrow  gorge,  down  which  the  raging  river 
Russ  plunges,  below  Alpine  cliffs  which  tower  to  heaven.  Around 
these  cliffs  masses  of  storm  clouds  swirl,  torn  by  the  currents  which 
blow  through  the  narrow  ravine.  As  they  part  we  gain  glimpses  of 
still  higher  glaciers  and  snowy  peaks  far  off.  Along  the  road,  built 
against  the  mountain-side,  a  pack-train  of  mules  and  pedestrian  pris- 
oners, guarded  by  soldiers,  slowly  passes.  Turner  made  his  first  trip 
to  the  Continent  when  about  thirty  years  of  age,  bringing  back  a  vast 
number  of  sketches,  some  of  which  he  worked  up  afterward.  He  was 
never  known  to  paint  a  picture  before  the  actual  scene.  Many  of  his 
finest  pictures  were  painted  from  rough  pencil  memoranda,  for  he 
never  troubled  himself  about  drawing  a  scene  as  it  actually  appeared. 
He  made  an  etching  of  this  scene,  which  was  published  in  1809,  of 
which  the  original  drawing  is  in  the  National  Gallery. 

Painted  about  18 15. 

Collection  of  Holbrook  Gaskell,  Esq.,  Wootton  Wood,  Liverpool. 
Collection  of  J.  N.  Allnutt,  who  presented  it  to  his  daughter,  1854. 
Exhibited  at  Old  Masters  Exhibition,  Royal  Academy,  London,  1885. 
Exhibited  again  at  Old  Masters  Exhibition  in  1907. 
Listed  in  Armstrong's  Catalogue  of  Pictures  by  Turner. 
Bought  of  Sulley  &  Co.,  London. 

Illustrated 

[58] 


No.  67 


ST.  GOTHARD  PASS— 
THE  DEVIL'S  BRIDGE 

Turner 


No.  68 

Seymour  Lucas 

1851- 

MAN  WRITING 

Canvas,  signed  and  dated  1880.    Height,  11  inches;  width,  153^  inches 

THIS  little  genre  composition  shows  a  man  seated  at  a  table,  busily 
engaged  in  writing  with  a  quill  pen.  He  wears  a  doublet  of 
brown  buckskin  with  a  high  collar,  over  a  blue  shirt,  as  indicated  by 
the  sleeves.  A  brown  jug  stands  on  the  table  beside  him.  The  pose 
and  drawing  are  admirable  and  the  work  is  direct  and  forceful. 

No.  69 

Seymour  Lucas 

1851- 

THE  SMOKER 
Canvas,  signed  and  dated  1879.   Height,  20  inches;  vi^idth,  17  inches 

STANDING  before  a  high,  carved  stone  mantel,  a  cavalier  of 
Stuart  days  is  seen  lighting  his  pipe  with  a  live  coal  from  the  open 
fireplace.  He  wears  the  high  top-boots,  red  breeches,  and  buff  surtout 
of  the  time  of  King  Charles,  and  the  costume  is  completed  by  a  crimson 
sash  about  the  waist,  falling  at  the  back,  and  a  sword  at  his  side.  His 
blond  hair  falls  on  his  shoulders.  The  costumed  figure,  as  well  as  the 
well  painted  accessories  of  the  room,  are  a  reminder  of  Meissonier. 

Both  bought  at  the  Murietta  Sale,  London. 

r59: 


No.  70 


John  Hoppner 

58-18 10 

LADY  MELBOURNE 

Canvas.    Height,  29  inches;  width,  24  inches 

THIS  young  woman  is  portrayed  at  half  length,  her  head  turned, 
looking  to  the  left.  She  is  clad  in  a  simple  dress  of  yellow  with 
a  buff  sash  at  the  waist,  the  bodice  partly  open  to  disclose  neck  and 
bust.  She  is  drawing  a  fur  wrap  around  her.  Her  hair  is  brown  and 
bound  with  a  black  fillet,  which  enhances  the  brilliancy  of  her  ruddy 
complexion.  Properly,  the  subject  was  never  Lady  Melbourne,  but 
Lady  Caroline  Lamb,  as  she  died  a  few  months  before  her  husband 
succeeded  to  the  peerage  as  Lord  Melbourne.  Lady  Caroline  Lamb 
was  the  only  daughter  of  Frederick,  Earl  of  Bessborough.  She  mar- 
ried the  Hon.  William  Lamb,  afterward  Viscount  Melbourne,  who 
became  Prime  Minister  of  England.  She  was  a  novelist  and  acquired 
additional  notoriety  as  a  friend  of  Lord  Byron.   She  died  in  1828. 

Bought  of  Thomas  Agnew  &  Sons,  London. 
Collection  of  the  Earl  of  Carlisle. 

Listed  in  McKay  and  Roberts'  "Works  of  Hoppner,"  Supplement,  p.  34. 
Reproduced  in  "The  Masterpieces  of  Hoppner,"  19 12. 


1:60: 


No.  71 


George  Vincent 

1796-1831 

THE  HAY  FIELD 

Canvas.    Height,  50  inches;  width,  74  inches 

IN  a  wide-reaching  hay  field,  golden  under  the  summer  sun,  a  num- 
ber of  toilers,  men  and  women,  are  seen  gathering  in  the  harvest. 
In  the  foreground  some  stacks  have  been  set  up,  and  noble  old  trees 
rise  at  right  and  left.  In  the  middle  distance  are  seen  the  houses  of 
a  village,  and  beyond  rise  the  hills  which  hem  the  horizon.  A  con- 
temporary of  Constable,  this  work  was  at  one  time  ascribed  to  that 
master  of  English  landscape  art,  for  it  shows  the  same  perception  and 
grasp  of  the  evasive  spirit  of  the  English  country  that  Constable  first 
caught  from  the  English  hills  and  vales. 

Bought  of  Charles  Sedelmeyer,  Paris. 


1:61] 


No.  72 

Sir  Anthony  van  Dyck 

1599-1^41 

THE  ABBE 

Canvas.    Height,  49^  inches;  width,  40^  inches 

THE  rather  worldly-looking  Abbe,  of  about  forty  years  of  age,  is 
seen  seated,  directly  facing  the  observer.  His  fine  strong  face, 
aglow  with  the  ruddy  tint  of  health,  is  framed  in  long  dark  hair,  which 
curls  slightly  over  the  forehead  in  front  and  falls  over  the  shoulders. 
In  his  left  hand  he  holds  a  manuscript,  while  he  extends  the  right, 
palm  upward,  as  if  to  emphasize  the  words  issuing  from  his  half-parted 
lips.  He  wears  a  long  black  silk  robe,  with  full  sleeves,  over  a  light 
gray  waistcoat  with  a  broad  white  stole.  A  large  ornament  of  clus- 
tered pearls  appears  on  his  breast.  A  dark  red  curtain  is  seen  in  the 
background  at  the  left.  The  modelling  and  painting  of  the  head  and 
hands  are  worthy  of  the  artist  at  his  best.  The  work  is  probably  a 
product  of  his  Flemish  period,  before  he  went  to  England.  The  pic- 
ture has  been  presented  to  the  Metropolitan  Museum  as  a  memorial 
to  Mr.  Bacon,  by  Mrs.  Walter  Rathbone  Bacon,  to  whom  the  Collec- 
tion was  left. 

Bought  of  Charles  Sedelmeyer,  Paris. 

Collection  of  Scott  Murray,  Esq.,  Marlow,  Berkshire. 

Illustrated 


I622 


No.  72 
THE  ABBE 
Van  Dyck 


No.  73 


John  Hoppner 

ij 58-1810 

A  GIRL  IN  WHITE 

Canvas.    Height,  28  inches;  width,  24  inches 

THIS  portrait  shows  a  pretty  young  English  girl,  her  fresh  face 
seen  in  three-quarters  view,  turned  to  the  left.  Her  left  arm  is 
crossed  over  her  waist,  and  she  holds  a  white  cloth  in  both  hands.  She 
is  simply  attired  in  a  low-cut  white  dress,  with  a  yellow  sash  around 
the  waist.  Her  abundant  curling,  dark  brown  hair  falls  carelessly  over 
her  neck  and  shoulders.  A  dark  blue  curtain  in  the  background  is 
draped  up,  giving  a  glimpse  of  a  distant  landscape. 

No.  74 

W.  J.  Shayer 

1788-1879 

HUNTING-  COACHING-  RACING— STEEPLECHASING 
Average  size:  height,  3^  inches;  width,  5j4  inches 

THESE  four  groups  of  small  pictures,  twenty  in  all,  show  the  start 
with  the  hounds,  the  end  of  the  trail,  jockeys  on  their  mounts, 
the  arrival  of  the  coach  at  the  road-house,  or  bowling  along  the  high- 
way. All  are  marked  by  animation  and  the  spirit  of  sport.  They  are 
truthful  and  inspiring  records  of  scenes  in  the  open,  dear  to  healthy 
Englishmen. 

[63] 


No.  75 


Sir  Anthony  van  Dyck 

1599-1^41 

THE  HOLY  FAMILY  WITH  SAINT  JOHN 
Panel.   Height,  9  inches;  width,  6^  inches 

THIS  interesting  study  in  grisaille  shows  the  Virgin  seated,  with 
the  Child  on  her  left  reaching  out  his  arms  to  Saint  John,  who 
stands  at  the  right,  his  left  hand  extended  to  the  infant  Jesus.  Saint 
Joseph,  seated  in  the  background  at  the  left,  rests  his  head  on  his  right 
hand  and  gazes  at  the  group  in  front.  The  Paschal  Lamb  is  seen  in 
the  right  foreground.  A  large  tree  spreads  its  protecting  branches 
over  them,  and  a  peaceful  landscape  is  seen  at  the  right. 

Collection  of  John  Rohde,  Esq.,  London. 

Exhibited  at  the  Van  Dyck  Exhibition,  Grosvenor  Gallery,  1886-87. 


No.  76 


Sir  Joshua  Reynolds 

1723-1792 

MISS  MONTGOMERIE 

Oval  canvas.   Height,  28  inches;  width,  23  inches 

THIS  small  portrait  shows  an  attractive  young  woman,  seen  at 
waist  length,  who  holds  in  both  hands  a  bird  to  her  breast.  She 
looks  at  the  spectator  with  full  face  and  smiles  in  an  engaging  manner. 
She  wears  a  dress  of  strawberry  colour,  cut  low  in  the  neck. 

Bought  of  Charles  Sedelmeyer,  Paris. 

Collection  of  James  Cowan,  Esq.,  of  Rosshall,  Scotland. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters. 

No.  77 

Sir  Peter  Lely 

1618-1680 

NELL  GWYNN 

Panel.   Height,  173^  inches;  width,  14^  inches 

THIS  small  portrait  of  the  favourite  of  King  Charles  shows  the 
subject  at  half  length,  and  reveals  all  the  traits  of  mischief  and 
daring  that  we  associate  with  this  young  Irish  woman,  and  which  the 
Court  Painter  has  revealed  in  the  several  other  portraits  of  her  which 
have  long  been  familiar. 

[65: 


No.  78 


George  Morland 


1763-1804 


THE  "WHITE  LION"  STABLE 


Canvas.   Height,  27  inches;  width,  35  inches 


HIS  is  one  of  those  scenes  of  English  rural  life  which  the  artist 


X  depicted  so  often  as  to  make  him  famous.  In  the  centre  of  a  spa- 
cious barn,  a  white  horse,  just  returned  from  a  day's  work,  stands  pa- 
tiently waiting  for  his  evening  meal.  The  large  wooden  hames  around 
his  neck  are  decorated  in  bright  colours.  Beside  him  stands  a  small 
brown  donkey  which  a  child  is  feeding  with  turnips,  while  a  yellow 
and  white  dog  stands  in  the  foreground.  Through  the  open  barn  door 
a  glimpse  of  the  farm  landscape  is  seen. 

Bought  of  Charles  Sedelmeyer,  Paris. 


Illustrated 


1:663 


< 


No.  79 

Sir  Joshua  Reynolds 

IT2S-I792 
PORTRAIT  OF  MISS  ANSHUR 

Canvas.   Height,  40  inches;  width,  33^4  inches 

SEATED  against  a  landscape  background,  the  subject  is  seen  at 
three-quarters  length,  her  face  turned  to  the  right.  She  wears  a 
white  gown  cut  low  in  the  neck,  with  a  wide  pink  sash  having  a  bow  at 
the  left  side.  Pink  ribbons  encircle  the  sleeves  at  the  wrists.  Across 
her  right  arm  the  folds  of  a  scarf  fall  loosely  from  her  shoulder.  Her 
dark  hair  is  rolled  from  the  forehead  and,  bound  by  a  white  ribbon 
fillet,  falls  in  curls  on  either  shoulder.  The  work  is  marked  by  the 
elegance  and  distinction  which  characterize  Sir  Joshua's  work  at  its 
best. 


1:673 


No.  80 


Richard  Cosway 

1J40-1821 

HON.  DOROTHY  STYLES 

Canvas.   Height,  49  inches;  width,  39  inches 

IN  this  attractive  presentment  of  a  graceful  young  woman,  the  artist 
shows  the  same  characteristics  which  have  made  his  "pictures  in 
little"  so  justly  renowned.  Here  is  found  correct  and  graceful  draw- 
ing, and  above  all  rare  refinement.  The  subject  is  seen,  standing, 
at  three-quarters  length,  gowned  in  white  with  a  yellow  sash  and 
wearing  a  white  turban.  The  rulf  about  her  neck  is  open,  and  her 
blonde  hair  falls  over  her  shoulders.  Her  right  arm,  encased  in  a  glove 
of  gray  suede,  falls  at  her  side.  Encircling  her  throat  is  a  gold  neck- 
lace from  which  depends  a  gold  cross. 


1:68: 


I 


PAINTINGS 
OF  THE  FRENCH  SCHOOL 


No.8i 


Carle  Andre  Vanloo 

MME.  DE  POMPADOUR 

Academy  board.    Height,  lO^  inches;  width,  734  inches 

IN  this  small  portrait  the  favourite  of  Louis  XV  is  shown  seated 
beside  a  table  in  a  petite  salon,  holding  a  book  of  music.  She  has 
turned  her  head  to  the  right,  as  if  her  attention  had  been  diverted  for 
a  moment.  She  wears  a  dress  of  blue  flowered  silk,  which  falls  away  in 
front  to  show  an  under-skirt  of  gray  silk.  Her  dress  is  cut  low  in  the 
neck  and  has  wide  sleeves  trimmed  with  lace.  A  brown  curtain  falls 
at  the  back. 

No.  82 

School  of  Jean  Clouet 

PORTRAIT  OF  A  MAN 

Panel.   Height,  7  inches;  width,  6  inches 

THIS  delightful  little  portrait,  so  fine  in  quality,  shows  a  beard- 
less youth  whose  brown  eyes  look  directly  at  the  spectator.  He 
is  evidently  a  young  man  of  rank.  He  wears  a  black  robe  over  a  low- 
cut  embroidered  waistcoat,  and  a  high  under-vest  with  a  high  gold- 
embroidered  collar.  His  large  hat  of  green  cloth  with  gold  ornaments 
is  set  jauntily  on  his  head,  and  a  heavy  gold  chain  about  his  neck  falls 
within  his  waistcoat.  The  background  shows  a  red  wall  with  a  brown 
wainscoting. 


C70 


No.  83 


Anders  Zorn 

Contemporary  Swedish  Painter 
MRS.  WALTER  RATHBONE  BACON 

Canvas,  signed.    Height,  673^  inches;  width,  42^/2  inches 

IN  a  richly  furnished  room  the  lady  is  seated  in  a  blue  arm-chair, 
leaning  toward  the  left,  and  looking  directly  toward  the  observer. 
Her  right  arm  rests  on  the  neck  of  a  white  and  tan  collie  dog,  which 
sits  on  the  floor  beside  her.  She  wears  a  dress  of  white  satin,  low  in 
the  neck,  with  short  sleeves  of  chiffon,  caught  up  by  yellow  flowers  at 
the  shoulders.  Flowers  are  also  seen  down  the  front  of  the  skirt.  Her 
black  hair  is  dressed  high  on  the  well  shaped  head,  with  a  curl  falling 
on  the  forehead.  A  long  neck-chain  of  precious  stones  falls  to  the 
waist.  A  pillow  of  yellow  silk  placed  at  her  back  gives  an  added  note 
of  colour,  and  a  Louis  XV  commode  seen  at  the  left  adds  interest  to 
the  surroundings.  The  flesh  tones  are  admirable,  and  the  whole  work 
is  marked  by  a  brilliancy  and  facility  of  brushwork  and  a  freshness  of 
colour  that  are  distinctly  modern. 

Regarded  by  the  artist  as  one  of  his  most  successful  portraits,  it  is 
now  in  the  Metropolitan  Museum,  having  been  presented  by  Mrs. 
Walter  Rathbone  Bacon  in  memory  of  her  husband. 

Painted  in  1897, 

Illustrated 


No.  83 

MRS.  WALTER  RATHBONE  BACON 

Zorn 


No.  84 
Antoine  Watteau 

1 68 4-17 2 1 

PORTRAIT  OF  HYACINTHE  RIGAUD 

Canvas.    Height,  54  inches;  width,  42  inches 

SEATED  before  his  easel,  the  artist  looks  directly  out  at  the  ob- 
server as  if  suddenly  arrested  in  his  work.  His  strong  features 
are  framed  by  a  luxuriant  wig,  which  is  brushed  high  and  falls  to  his 
shoulders.  He  wears  a  brown  coat  with  brass  buttons,  open  at  the 
neck  to  show  the  purple  lining  under  a  white  collar.  His  sleeves  are 
turned  back  over  white  cuffs,  held  at  the  wrists  by  purple  ribbon. 

Bought  of  E.  M.  Hodgkins,  London. 

No.  85 

Francois  Clouet 

1516-1572 

PORTRAIT  OF  MME.  DE  SUCE 

Panel.   Height,  13  inches;  width,  93/2  inches 

THIS  small  presentment  is  that  of  a  noble  lady  wearing  the  Mary 
Stuart  cap  and  wide  ruff  of  that  period.  Her  blonde  hair  is 
arranged  in  deep  puffs,  and  about  the  elaborate  ruff  is  a  superb  collar 
of  huge  pearls,  resting  on  her  bodice  of  yellow  silk  and  black  velvet. 

Bought  of  Charies  Sedelmeyer,  Paris. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1901. 

c:73ii 


No.  86 


Jean  Honore  Fragonard 

i'/32-i8o6 

L'ENFANT  CHERI-CHILDREN  IN  THE  PARK 

Canvas.    Height,  22  inches;  width,  28  inches 

IN  this  work  of  rare  vivacity  a  rosy-cheeked  child  is  shown,  seated 
in  a  low  car  drawn  through  a  park  by  a  young  woman,  who  pulls 
on  a  pink  ribbon  attached  to  the  car.  A  second,  dark-haired  woman 
leans  over  as  she  pushes  on  the  back,  her  flowing  scarf  and  filmy  gar- 
ments fluttering  in  the  breeze.  A  little  boy  in  a  brown  costume  and 
hat,  with  a  rake  over  his  shoulder,  moves  along  on  the  farther  side  of 
the  car.  The  lightly  clad  child  in  the  car  stretches  out  his  right  arm 
in  delight,  while  he  clasps  a  dog  seated  beside  him,  whose  brown  head 
is  just  visible.  Two  large  white  dogs  accompany  the  merry  party,  one 
running  at  the  left,  the  other  alongside  the  car.  Roses  are  strewn  in 
the  car  and  on  the  ground,  and  trees  in  their  summer  foliage  rise  in  the 
background,  while  a  fountain  in  the  distance  tosses  its  foamy  waters 
aloft. 

Bought  of  Charles  Sedelmeyer,  Paris. 

Illustrated 


[74] 


o 
6 


I  < 

W  Q 

u 


No.  87 

Pierre  Mignard 

i6io-i6g5 

A  GENTLEMAN  OF  THE  FRENCH  COURT 

Canvas.    Height,  49  inches;  width,  39  inches 

THIS  three-quarter-length  portrait  of  a  French  courtier  is  one  of 
great  attractiveness.  Clad  in  a  brown  coat  with  white  under- 
sleeves  which  end  in  a  fall  of  lace  at  the  wrists,  he  stands  with  his  right 
hand  resting  on  the  head  of  a  dog.  His  fresh,  youthful  face  is  framed 
by  his  long  hair  falling  to  his  shoulders,  and  his  gaze  is  directly  out  of 
the  canvas.  A  red  sash,  knotted  at  the  right  shoulder,  crosses  his  breast 
and  is  gathered  about  his  left  arm,  falling  at  his  side.  His  lace  jabot 
is  held  by  an  emerald. 


No.  88 

Pierre  Mignard 

i6io-i6g5 

PORTRAIT  OF  A  LADY 
Canvas.   Height,  36  inches;  vv^idth,  29  inches 

THE  attractive  subject  is  portrayed  seated,  wearing  a  gown  of 
gray  brocade,  cut  low  in  the  neck,  having  short  sleeves,  the  bod- 
ice bordered  with  a  frill  of  lace.  She  leans  her  right  arm  on  some  green 
cushions  in  a  graceful  and  easy  pose,  and  gazes  directly  out  of  the 
canvas. 


[753 


No.  89 


Jean  Baptiste  Greuze 

1725-1805 


YOUNG  WOMAN  WITH  A  ROSE 


Canvas.    Height,  22 inches;  width,  19  inches 


HIS  fine-featured  young  woman  is  portrayed  in  a  simple  gown 


X  of  brown  material,  which  leaves  her  bosom  half  exposed.  Her 
dark  hair  falls  low  on  the  back  of  her  neck,  and  one  curl  rests  on  her 
left  shoulder.  On  her  head  is  a  large  and  becoming  capote  of  gray 
material.  A  landscape,  lightly  sketched  in,  forms  the  background. 
The  colour  tones  and  modelling  of  the  face  and  neck  are  especially 
notable  in  this  simple,  direct,  and  appealing  canvas. 


ERY  charming  and  naive  is  the  little  maiden  shown  in  this  can^ 


V  vas,  dressed  in  a  simple  blue  gown  with  short  sleeves  and 
pointed  cap  of  lace  with  blue  ribbon  inserts.  A  narrow  pink  ribbon  en- 
circles her  throat.  In  her  right  hand  she  holds  a  little  bird,  which  she 
regards  with  tender  solicitude.  It  is  a  delightful  example  of  this  early 
French  painter. 

Collection  of  Baron  de  Beurnonville,  Paris. 


No.  90 

Jean  Baptiste  Chardin 

1699-1779 


GIRL  WITH  A  BIRD 


Canvas.    Height,  20j^  inches;  width,  16 


inches 


Nos.  91-94 

Francois  Boucher 

1703-1770 


THE  FOUR  SEASONS^ 

Canvas.    Height,  22  inches;  width,  28  inches 
THE  CHARMS  OF  SPRINGTIME  (Les  Charmes  du  Printemps) 

THIS  pastoral  shows  the  artist's  exuberant  imagination  held  in 
restraint.  The  sky  is  blue  and  the  trees  in  verdant  tones,  while 
a  suggestion  of  fragrance  appears  to  be  shed  by  the  flowering  branches 
on  the  loving  pair  below.  The  maiden,  dainty  and  fair,  reclines  on 
the  grass,  leaning  against  her  lover's  knee,  while  he  is  engaged  twisting 
flowers  in  her  golden,  curly  hair.  The  diffused  light  falls  on  the 
pretty  flower  girl  and  on  the  sheeny  folds  of  her  dress,  whose  low 
bodice  and  short,  full  sleeves  reveal  the  exquisite  whiteness  of  the 
bosom  and  forearms.  A  basket,  tied  by  blue  ribbons  around  her  left 
wrist,  holds  roses,  jasmine  and  forget-me-nots,  some  of  which  have 
fallen  out  against  her  yellow  dress.  The  youthful  shepherd  leans 
tenderly  over,  crowning  her  with  flowers,  his  boyish  profile  seen,  with 
flowers  stuck  in  his  short  chestnut  hair.  The  colour  of  his  dress  is  graded 
from  his  rose-coloured  cloak  and  lilac  waistcoat  to  his  white  silk  stock- 
ings. In  half  shadow  flutters  a  blue  scarf  and  a  tambourine  gives  a 
patch  of  light  to  the  left,  where  a  goat  is  standing  amid  herbage,  with 
another  lying  down.  To  the  right  are  rose  bushes  in  bloom  and  rocks 
appear  near  the  goat's  feet.  In  the  distance  looms  a  round  tower  and 
an  arched  bridge  spanning  a  stream. 

Illustrated 

^  These  paintings,  forming  a  set,  are  known  by  the  names  given  to  them  by  Daulle  on  his  famous 
prints:  "Les  Charmes  du  Printemps,"  "Les  Plaisirs  de  I'Ete,"  "Les  Deh'ces  de  I'Automne,"  and 
"Les  Amusements  de  I'Hiver." 

[:77n 


THE  PLEASURES  OF  SUMMER  (Les  Plaisirs  de  I'Ete) 


IN  a  luminous  atmosphere  is  seen  the  audacious  grace  of  three  bath- 
ing women.  The  landscape,  delightfully  impossible,  is  a  scene  of 
the  artist's  invention,  its  alley  of  green  boughs  flooded  with  light, 
while  fleecy  golden  clouds  float  across  the  blue  sky.  At  the  right  is  a 
large  stone  fountain  with  yawning  dolphin  head  and  cupids,  and  a 
cascade  of  water  runs  in  a  dancing  pool  under  the  reeds  and  invites 
the  bathers.  These  are  partly  undressed  and  some  of  their  clothing,  in 
white,  lilac  and  yellow,  with  gold  brocading,  hangs  on  the  flowering 
shrubs  close  by.  As  the  three  young  women  are  grouped  in  a  semi- 
circle in  the  foreground,  our  attention  is  centred  on  the  best  drawn, 
most  life-like,  and  charming  of  the  three.  This  girl,  whose  portrait  is 
repeatedly  introduced  by  Boucher,  was  Morphise,  or  Murphy,  the  first 
pensioner  of  the  Pare  aux  Cerf s,  who,  at  the  age  of  fifteen,  attracted  the 
fancy  of  Louis  XV.  Boucher  was  credited  with  having  brought  her  to 
the  king's  notice  at  the  end  of  1752.  She  may  be  recognized  in  many 
paintings  of  that  period,  showing  the  same  delicate  features,  the  child- 
like mouth  and  little  upturned  nose.  The  dark  hair  and  eyes  give  her 
a  look  of  mystery,  while  her  ingenuous  expression  gives  a  puzzling, 
piquant  effect.  Here  she  is  sitting  dreamily  under  a  tree,  her  shoulder 
uncovered  as  are  her  shapely  legs.  Through  the  cambric  we  see  the 
grace  of  her  youthful  figure.  Perhaps  the  companion  by  her  side, 
lying  nude  on  the  drapery  with  one  foot  in  the  water,  is  also  Morphise. 
The  third  figure  is  partly  hidden  by  the  reeds,  but  the  whole  group  is 
one  of  brilliant  harmony. 

Illustrated 


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THE  DELIGHTS  OF  AUTUMN  (Les  Delices  de  I'Automne) 


THIS  offers  no  puzzle  to  unravel.  There  is  the  rich  colouring  of  the 
season  with  flowers  and  fruit  on  all  sides.  The  trees  are  still 
bent  with  mellowed  foliage  and  the  atmosphere  is  soft  against  the  blue 
sky.  It  is  not  an  ordinary  pastoral  scene  since  the  artist's  brush  has 
scattered  over  it  many  delicate  and  delightful  touches,  soothing  to  the 
eye  and  mind  with  the  added  poetry  of  smiling  rosy  lips.  Here  the 
central  figure  is,  like  her  many  sisters,  one  of  the  children  of  Boucher's 
fancy.  She  is  not  so  much  a  personage  as  a  delightful  bit  of  ornament. 
Her  white  satin  dress  is  full  and  glossy;  she  holds  up  a  lilac  silk  petti- 
coat to  show  her  tiny  shoes  with  bows  of  ribbon.  The  bodice  is  cut  low 
and  her  arms  are  bare  but  for  the  short  puffed  sleeves.  A  garland  of 
pale  roses  hangs  from  her  corsage  and  a  tiny  hat,  perched  on  the  left 
side  of  her  head,  is  edged  with  pink  braid.  This  damsel  is  seated, 
leaning  over  the  shoulder  of  a  young  man  who  kneels  at  her  feet.  He 
is  gazing  at  her  with  ravished  eyes  as  he  pours  handfuls  of  grapes  into 
her  lap,  the  large  bunches  making  patches  of  purple  and  amber  colour 
against  her  white  dress.  A  basket  tied  with  ribbons  appears  on  the 
ground  close  by  full  of  ripe  fruit.  By  the  side  of  the  maiden,  the  youth 
is  a  stalwart  figure.  He  wears  a  red  coat,  blue  breeches  and  white 
stockings,  while  his  large  felt  hat  is  lying  on  the  ground.  In  the  back- 
ground, under  a  blue  sky,  rise  the  interlacing  branches  of  the  trees  and 
to  the  left  are  fallen  trees  overgrown  with  flowers.  The  whole  is  in 
perfect  colour  harmony  with  a  startling  vividness  of  light. 

Illustrated 


1:793 


THE  SPORTS  OF  WINTER  (Les  Amusements  de  I'Hiver) 


NDER  a  pallid  sky,  the  light  appears  mellow  and  diffused. 


\^  Sitting  in  her  sleigh,  the  pretty  lady  is  being  pushed  by  a  pow- 
erful young  skater.  Her  gilt  car  has  a  swan  at  the  prow  and  the  fair 
one  is  ensconced  among  cushions  of  green  velvet.  A  fur  cape  over  her 
arms  leaves  her  shoulders  bare  and  sets  off  the  tones  of  her  flesh.  A 
strip  of  fur  about  her  throat  is  tied  with  a  bow  of  ribbon;  her  dress, 
very  full,  is  of  white  satin,  over  which  she  wears  a  large  rose-coloured 
cloak,  trimmed  with  fur.  Her  hands  are  hidden  in  a  mulf  trimmed 
with  fur  and  her  feet  rest  on  a  footstool.  Her  head  is  uncovered  and 
the  waves  of  her  powdered  hair  are  confined  by  strings  of  pearls  and  a 
blue  ribbon,  fluttering  in  the  wind.  Her  gallant  pushes  the  car  with 
an  easy  swing.  He  is  warmly  wrapped  and  a  fur  cap  comes  down  on 
his  neck.  His  red  cloak  blazes  vividly  over  a  blue  coat.  The  earth  is 
covered  with  snow  and  icicles  hang  from  the  leafless  trees.  Beyond 
appears  the  wheel  of  a  deserted  mill  motionless  in  the  ice-bound 
stream. 

Signed  and  dated  1755. 

Painted  for  Mme.  de  Pompadour. 

Inherited  by  her  brother,  M.  de  Marigny. 

Sold  at  the  sale  of  M.  de  Marigny's  effects  in  Paris,  1872. 

Collection  of  Mrs.  Ridgway. 

Acquired  by  Mr.  Bacon  at  the  Ridgway  Sale,  Paris,  1904. 
Illustrated  in  "Les  Artes,"  Paris,  1905. 
Engraved  by  J.  Daulle. 

Now  in  the  Collection  of  Henry  C.  Frick,  Esq. 


Illustrated 


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No.  95 

Nicolas  de  Largilliere 


1656-1746 


COMTE  DE  SEGUR 


Canvas.   Height,  30^4  inches ;  width,  24^^  inches 


THE  subject  is  shown  in  life-size  of  bust  length,  and  wears  a  full 
bottomed  wig,  powdered,  which  hangs  down  on  his  shoulders. 
His  mantle  is  a  deep  blue  lined  with  orange. 

Collection  of  Comte  de  Ganay,  Paris. 


MARIE  ADELAIDE  OF  SAVOY,  DUCHESS  OF  BURGUNDY 


HE  subject  is  seen  at  half  length,  looking  directly  at  the  observer. 


X  She  wears  a  dress  of  dark  blue,  low  in  the  neck,  the  corsage  edged 
with  lace.  About  her  shoulders  is  a  red  scarf  which  is  gathered  in  folds 
and  held  by  a  jewelled  band  in  front.  A  jewelled  girdle  encircles  her 
waist.  Her  powdered  hair  is  dressed  high  in  front,  with  a  red  ribbon 
interwoven  across  the  front.  A  tress  falling  at  the  back  curls  across 
her  left  shoulder. 

Bought  of  Charles  Sedelmeyer,  Paris. 
Collection  of  Marquis  de  Kervan. 


No.  96 


Nicolas  de  Largilliere 


1656-1746 


Oval  canvas.    Height,  31  inches;  width,  25  inches 


1:80 


No.  97 

Jean  Baptiste  Josef  Pater 

1696-1736 

LES  LOISIRS  CHAMPETRES 
Canvas.   Height,  33  inches;  width,  38  inches 

IN  a  park  with  architectural  decorations  nineteen  figures  are  seen 
posed  in  graceful  attitudes.  The  interest  centres  about  a  group 
under  the  trees  at  the  left,  where  a  youth  dressed  in  white  bends  for- 
ward over  a  maid  seated  on  the  ground.  She  holds  up  to  him  a  rose  in 
her  left  hand,  while  another  maid  rests  her  arm  on  his  shoulder.  At 
the  left,  still  another  maid,  kneeling,  holds  a  basket  of  flowers.  Behind 
them  a  handsomely  costumed  youth  leans  against  a  pedestal,  on  which 
rests  a  stone  vase,  while  he  regards  the  scene.  At  the  right  of  the  com- 
position, two  pairs  of  lovers  are  seen,  while  some  children  are  romping 
about.  A  man  and  a  woman  bend  over  a  water-tub  in  the  background, 
and  in  the  front  a  youth  is  reciting  a  love  poem  to  a  group  gathered 
about  him.  A  lake  is  seen  in  the  landscape,  which  is  bordered  by  a  line 
of  blue  hills. 

Bought  of  Charles  Sedelmeyer,  Paris. 

Collection  of  Comte  Dupias,  Paris. 

Collection  of  Mr.  James  Saloschin,  Berlin. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1905. 

Illustrated 


1:82] 


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No.  98 

Unknown  Painter 

XIX  Century 


HEAD  OF  A  CARDINAL 


Canvas.    Height,  8  inches;  width,  6  inches 


THIS  small  bust  shows  a  gray-bearded  man  of  advanced  years. 
The  strong  face,  seen  above  the  wide,  soft  ruff,  is  ably  and 
solidly  painted.  On  his  head  is  a  red  biretta,  which  makes  an  effective 
colour  note.  It  is  an  admirable  study  from  life. 

Collection  of  Lord  Leighton,  London. 


HIS  half-length  presentment  shows  the  handsome  face  of  a  young 


X  French  nobleman,  who  looks  directly  at  the  observer.  His  seri- 
ous face  with  compelling  eyes  is  framed  in  a  wealth  of  dark  brown 
hair,  which  falls  down  on  his  shoulders.  His  left  hand  is  raised  to  his 
breast  and  holds  the  loose  mantle  of  blue  velvet  which  falls  from  his 
shoulders,  revealing  an  embroidered  waistcoat  and  falling  ruffles. 
Lace  frills  fall  about  his  wrists.  Gabriel  de  Rochechouart,  Marquis 
de  Mortemart,  was  the  father  of  Mme.  de  Montespan,  also  of  the 
Duke  de  Vironne.  He  died  at  Paris  in  1675. 


No.  99 

Pierre  Mignard 


i6io-i6g5 


C:833 


No.  100 


Nicolas  de  Largilliere 

i656-i'/46 
A  LADY  OF  THE  COURT 

Canvas.    Height,  31  inches;  width,  25  inches 

THIS  handsome  woman  in  her  early  thirties  is  seen  at  half  length, 
her  head  slightly  turned  to  the  right.  She  looks  out  serenely, 
her  powdered  hair  dressed  high  and  topped  by  a  large  pink  bow  at  the 
back  of  her  head.  Her  low,  square-cut  bodice  is  of  white  silk  em- 
broidered with  gold,  with  a  frill  of  lace  about  the  corsage.  Across  the 
breast  falls  a  blue  ribbon,  while  a  voluminous  old  rose  mantle  covers 
the  shoulders  and  is  drawn  in  at  the  waist.  The  portrait  is  marked  by 
dignity  and  seriousness,  without  loss  of  the  decorative  quality. 

Bought  of  Charles  Sedelmeyer,  Paris. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1902. 


1:84: 


No.  101 


Pierre  Mignard 


i6io-i6g5 


GRAND  DAUPHIN,  LOUIS  OF  FRANCE 


Canvas.    Height,  49  inches;  width,  39  inches 


HE  young  and  handsome  Prince,  son  of  Louis  XIV,  is  seen  seated 


X  in  the  portico  of  a  chateau,  with  a  column  rising  at  the  right,  and 
the  landscape  background  stretching  away  to  distant  hills.  A  brown 
and  white  setter  dog  stands  at  the  right,  the  leash  of  which  the  Prince 
holds  in  his  left  hand,  while  with  his  right  he  holds  the  dog's  paw,  which 
rests  on  his  knee.  The  Prince  looks  directly  out  of  the  canvas,  his  face 
framed  by  the  luxuriant  dark  hair  which  falls  about  his  shoulders.  He 
wears  a  surtout  of  blue  velvet,  with  lapels  lined  with  light  blue  silk, 
a  white  lace  jabot,  and  a  red  silk  bow.  His  sleeves  show  cuffs  of  brown 
brocade,  with  lace  frills  at  the  wrist.  Knee-breeches  of  the  same  brown 
brocade,  with  red  silk  hose,  complete  the  striking  costume,  save  for  the 
brilliant  mantle  of  carmine  cloth  which  falls  at  the  back  around  the 
waist.  After  a  stay  of  twenty-one  years  in  Italy,  where  he  won  great 
renown,  Mignard  was  called  home  to  France  by  Louis  XIV  in  1657, 
and  thenceforth  until  the  end  of  his  long  life  of  eighty-five  years  re- 
mained the  fashion. 

Collection  of  the  Duchess  of  Escher,  London. 


[85] 


No.  102 

Marie  Louise  Elisabeth  Vigee-Lebrun 

1755-1842 

COUNTESS  BISTRI 

Canvas.    Height,  31  inches;  width,  25  inches 

PORTRAYED  standing  at  half  length,  the  beautiful  young  Rus- 
sian woman  gazes  with  appealing  brown  eyes  directly  at  the  spec- 
tator. She  wears  a  simple  white  gown,  open  at  the  neck  and  bordered 
with  a  yellow  ribbon,  and  about  her  waist  is  a  rose-coloured  sash.  Her 
face  is  framed  by  a  mass  of  curling  chestnut  hair,  which  is  bound  by  a 
fillet  of  pink  ribbon  and  falls  in  ringlets  on  her  neck.  Her  lips  are 
parted  in  a  smile  as  she  looks  up  from  a  gilt-framed  miniature  which 
she  holds  in  her  extended  hands.  In  technique,  colour,  and  charm  the 
work  is  thoroughly  characteristic  of  the  renowned  woman  painter. 

Bought  of  Gimpel  &  Wildenstein. 
Collection  of  the  Bistri  Family,  Russia. 
Mentioned  in  the  Memoirs  of  Mme.  Lebrun. 

Illustrated 


V 


No.  102 
COUNTESS  BISTRI 
Lebrun 


No.  103 

Eugene  Isabey 

1804-1886 

COAST  SCENE 
Panel,  signed  and  dated,  "  '82."   Height,  9  inches;  width,  7  inches 

THE  composition  shows  a  broad  beamed  fishing-boat  with  a  single 
mast,  left  high  and  dry  by  the  tide  on  a  sandy  beach.  Beyond 
rises  a  towering  cliff.  In  the  foreground  a  horseman  and  some  fisher- 
men are  gathered  on  the  sands. 


No.  104 

Louis  Leloir 

1 8 43-1 88 4 

BATTLEDORE  AND  SHUTTLECOCK 

Panel,  signed  and  dated  1879.    Height,  18^  inches;  width,  24  inches 

AT  the  right  an  elderly  couple  are  seen  seated  on  a  low  garden  seat 
in  the  shadow  of  some  trees  which  arch  above,  watching  three 
young  women  who  are  playing  battledore  and  shuttlecock.  Beyond, 
other  persons  are  seen  walking  in  the  park,  which  is  bathed  in  misty 
yellow  sunlight,  in  contrast  with  the  shadowed  foreground. 


No.  105 

Antoine  Vestier 

1740-1824 

CHARLOTTE  MARIE  DE  GASVILLE 
{nee  DE  MALARTIE) 

Oval  canvas,  signed  and  dated  1795.   Height,  27^  inches;  width,  21^  inches 

THIS  portrait  shows  the  subject  at  half  length,  dressed  in  a  gown 
of  pale  blue  silk  with  a  white  fichu  and  a  cluster  of  flowers  at  the 
corsage.  Her  hair  is  powdered  and  adorned  with  a  white  ribbon  and 
feathers.  She  was  the  daughter  of  Comte  de  Malartie,  first  President 
of  Perpignan,  and  married  the  Marquis  de  Gasville,  1785. 

No.  106 

Hubert  Drouais 

i6gg-iy67 

MLLE.  LENORMAND  D'ETOILES 
Oval  canvas.   Height,  25  inches;  width,  20  inches 

THIS  small  portrait  shows  the  young  woman  to  the  waist,  seated 
in  a  chair.  She  wears  a  blue  dress  cut  low  in  the  neck,  the  cor- 
sage edged  with  a  lace  ruching  which  extends  down  the  front  of  the 
bodice.  A  bow  of  blue  and  white  striped  ribbon  is  placed  at  the  centre 
of  the  corsage,  and  similar  bows  appear  on  the  sleeves.  A  single  strand 
of  large  pearls  encircles  her  throat,  and  a  small  cap  of  lace  and  ribbon 
crowns  her  powdered  hair. 

Bought  of  Charles  Sedelmeyer,  Paris. 
Collection  of  Comtesse  Bousson. 


No.  107 

Alexander  Roslin 

1718-1793 

THE  MUSIC  LESSON 

Oval  canvas.   Height,  20}4  inches;  width,  17/4  inches 

THIS  picture  shows  a  group  of  three  figures:  a  man,  who  is  evi- 
dently the  music  teacher,  and  two  girls,  one  of  whom  is  seated 
beside  him,  dressed  in  white  and  holding  a  book  of  music;  the  other,  in 
blue,  standing  behind  him.  The  man  wears  a  brown  velvet  coat. 
Although  of  Swedish  origin,  this  artist  gained  his  education  in  Paris, 
and  is  classed  among  French  painters. 

No.  108 

r 

Marie  Louise  Elisabeth  Vigee-Lebrun 

1755-1S42 

PORTRAIT  OF  MME.  NECKER 

Canvas.    Height,  25  inches;  width,  20^2  inches 

THIS  decorative  canvas  shows  the  half-length  portrait  of  a  hand- 
some woman,  still  young,  simply  attired  in  a  pale  yellow  bodice, 
belted  at  the  waist  and  almost  entirely  concealed  by  a  large  shoulder 
cape.  This  cape  is  of  filmy  white  material,  so  draped  and  fastened  as 
just  to  reveal  the  snowy  throat  and  neck.  The  face,  aglow  with  health, 
is  framed  by  an  elaborate  coiffure  of  powdered  hair,  topped  by  a  large 
cap  of  blue  ribbon. 

Bought  of  Charles  Sedelmeyer,  Paris. 

1:89: 


No.  109 


Jean  Marc  Nattier 

1685-1766 


MME.  DE  BOURBON-CONTI  AND  LOUIS  XV 


Canvas.    Height,  47  inches;  width,  38  inches 


HE  French  master  here  presents  his  courtly  sitters  in  the  charac- 


X  ters  of  Venus  and  Mars.  The  young  and  handsome  royal  lover, 
in  shining  armour,  with  long  red  cloak  thrown  back  from  his  shoulders, 
and  a  helmet  topped  with  black  plumes,  is  seated  at  the  base  of  a  tree. 
He  leans  toward  the  lady,  his  right  arm  about  her  shoulders,  his  left 
hand  clasping  hers,  while  speaking  words  of  love.  She  listens  atten- 
tively to  the  words  of  the  King.  She  wears  a  pink  dress  with  low-cut 
gray  bodice  with  half  sleeves,  over  which  is  a  blue  mantle.  Her  pow- 
dered hair  is  adorned  with  white  feathers.  The  painting  in  this  idyl 
of  youth  and  love  is  beautiful,  notably  the  King's  armour  and  red 
cloak. 


Illustrated 


[190] 


No.  109 


MME.  DE  BOURBON-CONTI 
AND  LOUIS  XV 

Nattier 


No.  110 

Antoine  Vestier 

1740-1824 

MME.  FOACIER 

Canvas.    Height,  31  inches;  width,  25  inches 

THIS  portrait  shows  a  refined  and  charming  young  French  woman, 
seen  at  half  length,  seated  in  a  red  chair.  The  fair  subject  holds 
herself  erect  in  a  close  fitting  gown  of  white.  In  her  lap  are  strewn 
sprays  of  lilac,  with  other  sprays  fastened  to  the  front  of  her  low-cut 
bodice.  Her  right  arm  is  bare  to  the  elbow,  the  sleeve  end  finished 
with  a  fall  of  lace.  Long  pearls  are  pendent  from  her  ears,  and  a  rose 
is  stuck  in  her  hair,  which  is  dressed  high  and  powdered,  falling  in 
ringlets  on  her  shoulders. 

No.  Ill 

Jean  Marc  Nattier 

1 68 5- 1 7 66 

MARIANNE  D'AUVRAY 
Canvas.   Height,  30  inches;  width,  25  inches 

SEEN  at  half  length,  this  young  woman  wears  a  white  gown  with 
low  corsage  and  puffed  sleeves.  Her  right  arm  is  concealed  be- 
neath a  blue  mantle  which  has  fallen  from  her  shoulders  and  is  draped 
about  the  waist  and  left  arm.  A  garland  of  flowers  falls  from  her  left 
shoulder  down  the  front  of  her  bodice.  Her  powdered  hair  is  in  con- 
trast to  her  dark  eyes  and  eyebrows. 


No.  1  12 

Jean  Honore  Fragonard 

1732-1806 

LE  SERMENT  D' AMOUR 

Canvas.    Height,  47  inches;  width,  35  inches 

ON  a  velvety  greensward  of  a  forest  glade,  with  trees  in  their 
heaviest  foliage  rising  in  the  background,  two  lovers  in  graceful 
pose  are  seen  in  fond  embrace.  The  youth,  wearing  a  blue  waistcoat 
and  silk  coat  and  trunks  with  gray  silk  hose,  leans  to  the  left  and  holds 
to  him  a  fair-haired  maid,  his  right  arm  about  her  waist.  Half  consent- 
ing, half  resisting,  she  yields  her  lips  to  her  lover.  With  his  left  hand 
he  points  to  a  stone  tablet  held  on  the  top  of  a  pedestal  by  two  cupids, 
on  which  is  inscribed,  "Serment  d' Amour"  (Oath  of  Love) .  A  larger 
cupid,  with  his  sheaf  of  arrows  at  his  back,  is  seated  on  another  pedes- 
tal above  and  to  the  right.  On  the  left  are  seen  two  low  garden  seats 
at  the  edge  of  the  glade.  The  grace  and  beauty  of  the  composition 
make  it  a  happy  rendering  of  Love's  Young  Dream,  for  it  was  a  pro- 
duction of  the  artist's  career  when  real  love,  instead  of  fantasy  and 
voluptuous  pleasure,  directed  his  inspiration. 

Illustrated  in  "Fragonard,  Peintre  de  I'Amour  au  XVIII  Siecle,"  par  Georges 

Grappe,  Paris. 
Collection  of  Charles  Seppe,  Paris. 

Exhibited  in  the  Fragonard-Chardin  Exhibition,  Paris,  1907. 

Illustrated  in  "L'Art,"  Chardin-Fragonard  special  number. 

Illustrated  in  "Les  Artistes,"  by  Armand  Dayot,  Paris. 

Illustrated  in  "L'CEuvre  de  Chardin  et  de  Fragonard,"  by  Armand  Dayot. 

Illustrated 


No.  112 

LE  SERMENT  D'AMOUR 
Fragonard 


No.  113 

Nicolas  de  Largilliere 

1656-1746 

MLLE.  MARIE  ANNE  DUCLOS 

Canvas.    Height,  53  inches;  width,  39  inches 

THIS  portrait  shows  the  subject  standing  with  face  toward  the 
observer,  against  a  landscape  background.  She  wears  a  white 
dress  which  falls  loosely  from  the  shoulders  and  is  belted  under  the 
arms  and  held  by  bands  above  the  elbows,  but  flutters  in  the  breeze 
behind.  Her  powdered  hair  is  dressed  with  a  jewelled  band  from 
which  rises  a  white  feather.  In  front  of  her  stands  a  cupid,  whom  she 
lightly  caresses  as  he  extends  an  apple  in  his  left  hand.  Mile.  Duclos 
was  a  French  actress  who  was  born  in  1664.  She  married  an  actor 
named  Duchemin  and  died  in  1748. 

Collection  of  Comte  Leon  Mniszech,  Paris,  1902. 


No.  114 


Jean  Marc  Nattier 

1685-1766 

DUCHESSE  DE  ROHAN 

Canvas.    Height,  48  inches;  width,  39^  inches 

SEATED  at  a  table  on  which  rests  a  large  volume  bearing  the  words 
"Histoire  Universelle,"  the  young  Duchesse,  who  was  the  daugh- 
ter of  Louis  XV,  looks  toward  the  left  as  if  she  had  paused  in  her 
reading  to  speak  to  some  unseen  companion.  She  holds  the  volume 
with  her  right  hand  and  turns  a  leaf  with  her  left.  She  wears  a  white 
silk  dress  with  puffed  elbow  sleeves,  and  a  mantle  of  blue  silk  falls 
from  her  shoulders  down  about  her  waist  and  across  her  right  knee. 
Her  hair  is  rolled  above  her  forehead,  with  a  curl  falling  down  across 
her  neck.  The  expression  on  her  face  is  half  serious,  half  smiling,  and 
the  flesh  tones  are  pearly,  in  keeping  with  the  painter's  decorative 
palette. 

Bought  of  Charles  Sedelmeyer,  Paris. 


[94] 


No.  1 15 

Philippe  de  Champagne 

idoz-idj^ 
CARDINAL  RICHELIEU 

Canvas.    Height,  25 inches;  width,  20  inches 

IN  this  bust  presentment  of  the  crafty  Cardinal,  the  lean  face,  with 
upturned  mustache  and  imperial  and  keen  eyes,  looks  directly  out 
of  the  canvas,  the  narrow  face  being  made  more  ascetic  by  the  uncut 
locks  which  fall  from  under  the  Cardinal's  red  biretta.  The  red  sou- 
tane has  a  wide  collar,  held  in  front  by  a  cord  from  which  hangs  a  tassel 
ornament.  The  Order  of  the  Holy  Ghost,  with  its  enamelled  white 
dove  in  the  centre,  hangs  on  his  breast  from  a  wide  blue  ribbon  coming 
from  under  the  collar. 

Collection  of  Count  Rothan,  Paris. 


[95:1 


No.  116 


Hubert  Drouais 


MME.  TERISSE 


Canvas.    Height,  353^  inches;  width,  29  inches 


HE  subject  is  seen  at  half  length,  seated  in  the  corner  of  a  high- 


X  backed  sofa,  facing  forward,  her  right  elbow  resting  on  its  arm. 
She  wears  a  dress  of  light  brown  silk,  cut  low  in  the  neck,  with  elbow 
sleeves  ending  in  double  frills  of  lace.  The  square  corsage  is  bordered 
with  fur,  which  extends  in  three  bands  down  to  the  waist.  She  wears 
a  strip  of  fur  about  her  neck,  and  her  hands  are  inserted  in  a  fur  mulf . 
Her  powdered  hair  is  brushed  back  from  the  brow,  above  which  is  a 
small  cap  of  ribbon  and  lace.  Above  the  blue  brocade  of  the  sofa 
back  hangs  a  dark  green  curtain  from  which  depend  a  looped  cord  and 
tassel. 

Bought  of  Charles  Sedelmeyer,  Paris. 

Ilkistrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1905. 


Illustrated 


No.  116 
MME.  TERISSE 
Drouais 


• 


No.  117 

Carle  Andre  Vanloo 

GIOVANNI  PAOLO  PANINI 

Canvas.    Height,  38  inches;  width,  303^  inches 

THIS  portrait  of  the  celebrated  painter  of  the  Roman  school  pre- 
sents him  at  half  length, wearing  a  blue  coat  and  a  red  mantle. 
In  his  right  hand  he  holds  a  port-crayon  and  rests  it  on  an  open  port- 
folio. On  his  head  is  a  white  wig.  Panini  was  a  painter  of  architec- 
tural subjects  and  views  of  Roman  ruins.  He  was  born  in  Rome  and 
lived  there  to  the  end  of  his  life  in  1764.  Vanloo  studied  in  Rome, 
where  he  met  Panini.  After  returning  home  he  was  made  Director  of 
the  Academy  and  Court  Painter. 


1:97: 


No.  118 


Jean  Baptiste  Josef  Pater 


i6g6-ijs6 


THE  HAPPY  LOVERS 


Canvas.    Height,  16  inches;  width,  26^^  inches 


F  the  seven  figures  in  this  joyous  composition  of  youth  and 


V_>/  beauty,  the  two  in  the  foreground  tell  the  old,  old  story.  Both 
are  seated  on  a  garden  bench,  where  the  youth,  with  hand  to  his  heart, 
leans  forward  and  pours  out  his  story.  The  maid,  with  hands  crossed 
on  her  lap  and  her  head  turned  toward  her  lover,  listens  to  his  plead- 
ing. She  wears  a  gown  of  white  silk  with  pink,  low-cut  bodice,  the 
corsage  and  sleeves  trimmed  with  lace,  and  a  ruff  about  her  neck.  A 
butterfly  bow  of  green  velvet  at  the  centre  of  her  corsage  strikes  a 
pleasing  colour  note.  The  youth  wears  a  coat  and  knee-breeches  of 
brocaded  pink  silk,  with  lace  sleeve  ends  and  a  narrow  white  lace  ruff, 
gray  hose,  and  gray  shoes  with  pink  bows.  His  gray  hat  lies  on  the 
ground.  At  the  right  another  youth  bends  over  a  maiden,  and  at  the 
left  a  group  of  three  figures  look  with  interest  on  the  group  in  the  fore- 
ground. A  column  surmounted  by  an  urn  rises  at  the  back,  with  trees 
and  a  quiet  landscape. 


[198] 


No.  119 

Marie  Louise  Elisabeth  Vigee-Lebrun 

1755-1842 

MLLE.  DUTHE 

Canvas.    Height,  22^2  inches;  width,  173^  inches 

THIS  charming  presentment  of  the  famous  danseuse  might  not  be 
recognized  as  a  young  woman  of  the  stage,  since  the  artist  has 
depicted  her,  not  as  a  ballerina  in  costume,  but  as  a  thoughtful  woman 
holding  a  book  in  her  right  hand  and  looking  out  of  the  canvas,  as  if 
musing  over  its  contents.  She  is  simply  attired  in  a  blue  gown  with 
low  bodice  and  half  sleeves,  trimmed  with  fur.  Her  expression  is 
thoughtful,  even  serious,  as  if  the  artist  aimed  at  presenting  what  she 
found  to  be  the  true  character  of  the  footlight  favourite  of  her  time. 

No.  120 

Jean  Honore  Fragonard 

MLLE.  DUTHE 
Academy  Board.   Height,  12^  inches;  width,  8^  inches 

THIS  view  of  the  famous  danseuse  shows  her  at  full  length, 
dressed  in  ballet  costume,  performing  a  pas  seul.  Poised  on  her 
right  foot,  her  left  arm  raised  and  her  right  akimbo,  she  seems  the  em- 
bodiment of  life  and  grace.  She  wears  a  long  blue  dress  with  under- 
dress  of  white  lace,  and  long  sleeves.  Her  abundant  hair  is  dressed 
high  and  crowned  by  a  large  hat.  A  landscape  in  brown  and  gray  fills 
the  background. 

[99] 


No.  121 


Nicolas  de  Largilliere 

1656-1746 

MME.  D'AIGREMONT 

Canvas.   Height,  53^^  inches;  width,  41  inches 

THIS  portrait  shows  a  handsome  French  woman  at  three-quarters 
length,  seated  against  a  landscape  background.  She  wears  a 
white  silk  dress  with  pointed  bodice  embroidered  with  pearls  and  cut 
low  in  the  neck.  Across  her  shoulders  hangs  a  mantle  of  fur  lined  with 
silk,  which  is  brought  down  across  her  lap  and  held  at  her  corsage  by  a 
jewelled  band.  Her  powdered  hair  is  adorned  with  a  crescent  and 
large  pearls.  In  her  right  hand  she  holds  a  dead  pheasant,  and  the 
head  of  a  dog  is  seen  at  the  right. 

Bought  of  Charles  Sedelmeyer,  Paris. 
Collection  of  Comte  de  Ganay. 

Illustrated 


[100] 


No.  121 

MME.  D'AIGREMONT 
Largilliere 


No.  122 

Hubert  Drouais 

LADY  WITH  A  DOG 

Oval  canvas.    Height,  23  inches;  width,  19  inches 

PAINTED  in  a  quiet  colour  key  of  soft  gray  and  brown  tones, 
the  attractive  young  woman  is  seen  at  half  length,  seated,  clasp- 
ing in  both  arms  a  King  Charles  spaniel.  Her  brown  hair  is  brushed 
back  from  her  frank  face.  She  wears  a  bodice  of  gray  and  pink  striped 
silk,  cut  low  in  the  neck,  with  ruching  and  a  narrow  neckband  from 
which  hangs  a  small  neck-chain.  Her  arms  are  bare  to  the  elbow.  A 
note  of  colour,  effectively  introduced,  is  the  bow  of  pink  ribbon  at  the 
side  of  the  dog's  head. 

Bought  of  Charles  Sedelmeyer,  Paris. 

Exhibited  at  the  Exposition  de  Portraits  de  Femmes  et  d'Enfants,  Paris,  1897. 
Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1897. 


Cioi] 


4 


No.  123 


C.  F.  Daubigny 

1817-1878 

LANDSCAPE  IN  FRANCE 

Panel,  signed  and  stamped  "Vente  Daubigny."    Height,  8^4  inches;  width,  14  inches 

THIS  small  work  shows  a  subject  drawn  from  the  historic  Oise, 
which  the  painter  loved.  On  the  placid  river  in  the  foreground 
float  some  ducks,  with  two  boats  drawn  up  on  the  left  bank,  the  shores 
stretching  away  to  the  hills.  At  the  right  above  the  trees  a  church  spire 
is  seen,  and  above  is  a  gray  sky  whose  clouds  are  touched  by  the  sun 
rising  above  the  dark  mass  of  trees  on  the  left. 


No.  124 

C.  F.  Daubigny 

1817-1878 

LANDSCAPE  WITH  CATTLE 

Canvas,  stamped  "Vente  Daubigny."    Height,  io54  inches;  width,  17^  inches 

THIS  is  one  of  the  many  idyls  this  poet-painter  enjoyed  rendering. 
The  simple  rural  scene  shows  a  quiet  pool  between  low,  marshy 
banks,  where  some  women  are  washing  clothes.  Beyond,  cattle  are 
grazing.  On  the  right  rises  a  thick  clump  of  trees,  and  beyond 
stretches  a  wide  peaceful  summer  landscape  under  a  gray  sky  with 
heavy  clouds  which  the  sun  is  trying  to  break  through. 


No.  125 

Antoine  Vestier 

1^40-182^ 

A  LADY  OF  THE  COURT 

Canvas.    Height,  33  inches;  width,  25^/2  inches 

THE  fair  subject  sits  at  her  ease  in  a  high-backed  arm-chair  covered 
with  red,  holding  a  fan  lightly  in  her  right  hand.  She  is  mod- 
ishly  but  simply  gowned  in  a  white  flower-brocaded  silk,  with  sleeves 
ending  in  stiff  cuffs  and  double  lace-trimmed  under-sleeves.  About 
her  neck  is  a  becoming  neck-band  of  lace  embroidered  with  flowers  to 
match  her  gown,  with  a  square  jabot  of  the  same  material.  Her  pow- 
dered hair,  dressed  high,  is  crowned  with  a  tuft  of  flowers.  A  blue 
mantle  half  falls  from  her  shoulders  across  her  left  arm.  The  work  is 
one  of  exquisite  refinement,  both  in  colour  and  treatment,  and  much 
suggests  the  work  of  Drouais. 


PAINTINGS  OF  THE  DUTCH  AND 
FLEMISH  SCHOOLS 


No.  126 


Frans  Pourbus  the  Younger 


Flemish  School  {i ^6g-i622) 


ARCHDUCHESS  ISABELLA  OF  SPAIN 


Canvas.   Height,  38  inches ;  width,  28  inches 


HIS  highly  decorative  presentment  of  the  daughter  of  Philip  II 


X  shows  her  at  three-quarters  length,  standing,  facing  the  observer, 
her  left  hand  holding  a  heavy  gold  neck-chain  from  which  is  suspended 
a  locket  with  a  miniature  portrait.  She  is  dressed  in  a  white  silk  gown, 
the  sleeves  and  bodice  trimmed  with  gold  braid,  over  which  is  worn  a 
long  sleeveless  coat  of  black  velvet  with  gilt  buttons  and  ornaments. 
She  wears  a  fluted  ruff,  and  about  her  neck,  in  addition  to  the  gold 
chain,  is  a  quadruple  strand  of  pearls  caught  by  a  sapphire  set  in  gold. 
Her  black  hair,  rolled  above  the  forehead,  is  crowned  by  a  jewelled 
band,  and  a  jewelled  ornament  is  placed  above  her  left  temple. 

Clara  Eugenia  Isabella,  Infanta  of  Spain,  was  born  in  1566.  Philip  was  par- 
ticularly fond  of  his  precocious  daughter  and  confided  to  her  all  his  affairs  of  state. 
He  tried  to  place  her  on  the  throne  of  France,  but  was  unsuccessful  in  this.  She 
died  in  Brussels  in  1633. 


No.  127 


Frans  Hals 

Dutch  School  {1580-1666) 
THE  ROMMELPOT  PLAYER 

Canvas.   Height,  40  inches;  width,  33  inches 

THIS  interesting  and  vigorous  composition  shows  a  group  of  five 
children  gathered  about  an  itinerant  street  vagabond  playing  on 
a  rumblepot  which  he  holds  in  his  hands.  A  soft,  battered  hat  covers 
his  head,  and  the  boorish  face  is  marked  by  an  unkempt  beard  about 
the  open  mouth,  which  shows  some  missing  front  teeth.  At  his  back 
a  peasant  with  a  broad  grin  on  his  face  looks  over  his  shoulder.  In  the 
doorway  of  a  house  seen  in  the  background  appear  three  peasants,  all 
seemingly  pleased  with  the  passing  scene.  This  is  one  of  several  vari- 
ants of  the  subject.  The  former  existence  of  an  acknowledged  original 
painting  of  a  "Rumblepot  Player"  cannot  now  be  established,  says 
Dr.  de  Groot.  There  exist  many  derivatives  containing  a  varying 
number  of  figures. 

Collection  of  Comte  Leon  Mnlszech,  sold  in  Paris  in  1902. 
Listed  in  Hofstede  de  Groot's  Catalogue  of  Works  by  Frans  Hals,  No.  137. 
Named  in  Bode's  "Frans  Hals,  His  Life  and  Work,"  as  belonging  to  E.  R.  Bacon, 
New  York. 

Illustrated 


No.  127 

THE  ROMMELPOT  PLAYER 
Frans  Hals 


No.  128 


Antonio  Moro 


Dutch  School  {i 512-1  ^yj) 


ISABELLA  OF  VALOIS 


Panel.    Height,  20  inches;  width,  16  inches 


HIS  portrait  of  the  beautiful  young  French  Princess  gives  a  front 


X  view  with  the  eyes  gazing  directly  at  the  beholder.  Her  black 
hair  is  brushed  high  above  her  forehead  and  crowned  by  a  wreath  of 
white  and  gold,  the  white  being  a  row  of  ribbon  puffs.  Her  dress  of 
black  velvet  has  a  high  collar  and  shoulder  rolls,  with  sleeves  of  red 
brocade,  the  collar  and  shoulders  being  trimmed  with  short  strips  fas- 
tened with  gilt  buttons.  Above  the  collar  a  narrow  fluted  ruff  en- 
circles her  neck  just  below  the  ears.  She  wears  a  heavy  gold  necklace 
from  which  depends  a  cross  with  three  large  pearls  pendent,  and  a  red 
carnation  dangles  from  the  string  of  her  ruff.  The  subject  was  a 
daughter  of  Henry  II,  King  of  France,    She  was  born  in  1545. 

Collection  of  Mr.  Bernal,  sold  in  London  in  1855. 
Inscription  and  several  seals  on  the  back  of  the  panel. 


No.  129 

Antonio  Moro 

Dutch  School  {iji2-i^j6) 

PORTPIAIT  OF  A  PRINCESS 
Canvas.   Height,  43  inches;  width,  30^  inches 


YOUNG  woman  is  seen  in  three-quarters  length,  standing, 


aTjl  slightly  turned  to  the  right.  She  is  dressed  in  a  gown  of  silk  bro- 
cade with  high  neck  and  long  sleeves  having  lace  cuffs.  On  her  head 
is  a  small  lace  cap,  while  a  black  velvet  mantle  covers  her  shoulders. 
At  her  waist  she  holds  in  her  right  hand  a  small  King  Charles  spaniel. 
A  dark  maroon  curtain  fills  the  background,  against  which,  in  the 
upper  right  corner,  is  a  Spanish  coat-of-arms. 

Bought  of  Chades  Sedelmeyer,  Paris. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1905. 


No.  130 

Abraham  Hendricksz  van  Beyeren 

Dutch  School  {1620-1675) 
RIVER  SCENE 

Canvas.    Height,  31  inches;  width,  61  inches 

THE  artist  here  gives  a  faithful  view  of  one  of  the  wide  waterways 
which  intersect  the  low-lying  lands  of  Holland.  In  the  fore- 
ground on  the  great  highway  boats  are  passing,  with  others  containing 
fishermen  gathering  their  harvests.  In  the  distance  the  low-lying  land 
of  the  distant  shore  can  be  seen,  and  over  all  arches  a  sky  filled  with 
heavy  clouds. 

Bought  of  Charles  Sedelmeyer,  Paris. 


No.  131 

Jan  van  Eyck  {Attributed) 

Flemish  School  {1366- 1 440) 
PORTRAIT  OF  A  MAN 

Panel.   Height,  34  inches;  width,  16^  inches 

A  GAINST  a  simple  dark  background,  a  young  man  of  noble  birth 
is  seen  at  half  length.   He  wears  a  dark  coat  trimmed  with  fur, 
and  a  heavy  gold  chain  falls  down  the  front.   His  hands  are  raised, 
and  in  one  of  them  he  holds  a  small  flower. 


[HI] 


No.  132 


Meindert  Hobbema 

Dutch  School  {i6s8-i'/og) 


A  WOODY  LANDSCAPE 


Canvas.    Height,  inches;  width,  35 inches 


HIS  truthful  picture  is  pitched  in  a  low  colour  key  and  shows  a 


X  clump  of  old  trees,  evidently  the  edge  of  a  forest,  seen  half  in 
shadow  cast  by  a  mass  of  white  cumulus  clouds.  In  the  burst  of  light 
upon  the  glade  at  the  left,  two  peasants,  a  man  and  a  woman,  are 
walking;  and  at  the  right  a  man  and  a  woman  mounted  on  horses  and 
attended  by  a  dog  are  passing,  A  house  rises  in  the  background.  The 
majestic  beauty  of  the  lofty  forest  trees  under  the  play  of  light  and 
shade  exerts  a  particular  charm  and  seems  to  produce  an  illusion  of 
reality. 


1:1123 


No.  133 

Jan  van  Ravesteyn 

Dutch  School  {i 
PORTRAIT  OF  A  LADY 

Canvas.    Height,  47  inches;  width,  35  inches 

AN  elderly  woman  of  high  degree  is  here  portrayed  at  three-quar- 
Jr\.  ters  length.  She  wears  a  dress  of  black  silk,  cut  low  in  the  neck 
and  finished  with  lace  collar  and  cuffs.  A  strand  of  pearls  encircles 
her  neck,  and  in  her  left  hand  she  holds  a  white  feather  fan.  Her  hair 
is  elaborately  dressed  and  powdered,  with  strings  of  pearls  and  flowers 
inserted.  This  portrait  was  ascribed  to  Frans  Fourbus  the  Younger 
by  a  former  owner. 


No.  134 

Nicolas  Maes 

Dutch  School  {i6^2-i6gj) 
PORTRAIT  OF  AN  OLD  MAN 

Canvas.    Height,  18^  inches;  width,  15  inches 

THIS  virile  presentment  shows  an  old  man  of  philosophic  mien, 
the  head  finely  modelled  and  framed  in  white  beard  and  whis- 
kers. A  flat  skull-cap  of  deep  red  is  well  back  on  his  head  and  a 
golden-yellow  cape  falls  across  his  shoulders,  leaving  the  white  of  his 
soutane  just  visible  beneath. 


No.  135 

Aert  van  der  Neer 

Dutch  School  {1603-1677) 
EVENING  LANDSCAPE 

Panel.   Height,  20  inches;  width,  34  inches 

THIS  quiet  evening  landscape  shows  a  river  winding  through  the 
low-lying  Dutch  country,  past  sleepy  towns  and  long-armed 
windmills  and  wet  polders,  with  cattle  peacefully  grazing,  unmindful 
of  the  great  world  beyond.  A  small  town  with  its  inviting  church 
spire  fills  the  middle  distance,  while  in  the  sky  above,  the  moon  sails 
amid  light,  gathering  clouds. 

Bought  of  Charles  Sedelmeyer,  Paris. 

No.  136 

Abraham  Hendricksz  van  Beyeren 

Dutch  School  {1620-167 5) 
STILL-LIFE 

Canvas.    Height,  23  inches;  width,  29  inches 

THIS  Study  of  still-life  shows  a  large  faience  dish  filled  with 
peaches  and  grapes  in  the  centre,  with  another  dish  on  the  left 
containing  a  lobster.  On  the  right  is  seen  a  peeled  lemon  and  some 
grapes. 

Bought  of  Charles  Sedelmeyer,  Paris. 
Collection  of  Arthur  Kay,  Esq.,  Glasgow. 

Exhibited  at  the  Royal  Academy  Exhibition  of  Old  Masters,  1907. 


nii4] 


No.  137 


Dirk  Hals 

Dutch  School  {i§gg-i6^6) 
A  JOVIAL  COMPANY 

Canvas.    Height,  31  inches;  width,  383^  inches 

THE  central  figure  of  this  composition  is  a  young  man  in  a  red 
costume,  seated  in  the  foreground,  holding  his  pipe.  At  his 
right  stands  a  woman  in  a  black  gown  with  elbow  sleeves  and  ruff, 
offering  a  beaker  of  wine.  Beyond  is  a  table  covered  with  a  white 
cloth  on  which  stands  a  glass  of  wine,  and  behind  this  is  seen  the  fur- 
rowed face  of  an  old  woman,  her  hair  covered  with  a  mantilla  of  white 
lace.  A  youth  and  maiden  stand  at  the  right,  the  youth  wearing  a  suit 
of  green  with  gold  embroidery  and  pink  sleeves  and  a  soft  white  ruff. 
He  carries  his  hat  at  his  side.  The  maiden  wears  a  green  skirt  with  a 
brown  sash,  the  bodice  having  a  wide  lace  collar  and  sleeves  of  red 
velvet.  Her  hair  is  tightly  dressed  and  bound  with  a  black  ribbon,  and 
a  gold  chain  with  pendent  ornament  hangs  from  her  neck.  Two  land- 
scapes adorn  the  wall. 

Bought  of  Charles  Sedelmeyer,  Paris. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1899. 


[lis: 


No.  138 


Frans  Pourbus  the  Elder 

Flemish  School  {i 545-1 581) 
SEIGNEUR  VAN  WACHENDORFF 

Oval  canvas.    Height,  24  inches;  width,  18  inches 

THE  artist  has  here  portrayed  a  handsome  man,  slightly  bearded, 
and  of  early  middle  age,  at  half  length.  He  wears  a  corselet  of 
steel  armour  and  about  his  neck  is  a  soft  fluted  ruff.  He  gazes  directly 
at  the  observer. 


No.  139 

Frans  Pourbus  the  Elder 

Flemish  School  { 1545-158 1) 
MME.  VAN  WACHENDORFF 

Oval  canvas.    Height,  24  inches;  width,  18  inches 

THIS  companion  portrait  shows  a  young  woman  richly  dressed  in 
a  white  silk  dress  with  high  bodice,  over  which  is  a  robe  of  black 
velvet.  A  heavy  gold  neck-chain  falls  from  her  shoulders  to  her  waist, 
and  a  narrow,  fluted  white  ruff  encircles  her  neck.  On  her  head,  above 
her  dark  brown  hair,  dressed  high,  is  perched  a  high,  stiff  bonnet  with 
blue  ornaments  about  the  edge. 


I 


No.  140 

Salomon  van  Ruysdael 

Dutch  School  { 161  ^-i6yo) 
THE  FERRY 

Canvas.    Height,  40  inches;  width,  52  inches 

IN  the  foreground  the  ferry  is  seen  making  its  way  across  the  river. 
On  the  left  is  a  cottage  with  tall  trees  rising  about  it,  and  beyond 
the  broad  stream  are  the  habitations  of  a  small  town  with  a  tower.  The 
mellow-toned  landscape  stretches  under  a  sky  filled  with  heavy  clouds. 

No.  141 

Albert  Cuyp 

Dutch  School  {i 620-1 6gi) 
SPORTSMAN  WITH  A  BIRD 

Canvas,  signed.    Height,  40  inches;  width,  32  inches 

A MAN  with  a  staff  is  seen  carrying  an  injured  bird  in  his  right 
hand.  He  is  accompanied  by  a  dog,  whose  head  is  shown  at  the 
left.  The  man  is  young,  with  long  brown  hair  and  mustache,  and 
wears  a  red  cap,  brown  coat,  and  blue  cravat.  A  red  cloak  is  thrown 
over  his  left  shoulder. 

Bought  of  Charles  Sedelmeyer,  Paris. 

Collection  of  Colonel  Unthank,  Intwood  Hall,  Norwich. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1900. 


No.  142 

Gerard  van  Honthorst 

Dutch  School 

THE  VIOLINIST 

Canvas.    Height,  27  inches;  width,  22  inches 

PAINTED  in  his  broad  manner,  which  reveals  the  influence  of  his 
Italian  study  of  the  naturalistic  painter  Caravaggio,  the  artist 
presents  his  young  subject  standing  at  half  length,  his  strong,  expres- 
sive face  turned  to  the  right,  while  he  draws  the  bow  across  the  strings 
of  his  beloved  instrument  and  sings,  with  open  mouth,  to  his  own 
accompaniment.  He  wears  a  loose  red  coat  trimmed  with  brown  and 
opening  over  a  white  shirt  with  a  small  lace  collar.  A  large  black  hat 
with  brown  plumes  crowns  the  head  of  the  sturdy  young  musician. 
The  rather  strong  hands  are  a  feature  of  the  picture. 


1:1183 


No.  143 

Jacob  de  Heusch 

Dutch  School  {16^7-1701) 
LANDSCAPE 

Panel.   Height,  I'sYz  inches ;  width,  20^  inches 

THIS  pleasing  landscape,  suggestive  in  subject  of  Poussin,  whom 
the  artist  took  as  his  model,  shows  some  peasants  in  a  wagon 
loaded  high  and  drawn  by  oxen  along  a  narrow  mountain  road.  Some 
sheep  and  goats  move  along  in  the  train.  A  rocky  hill  rises  on  the  left, 
crowned  by  tall  trees,  and  on  the  right,  beyond  a  clump  of  trees,  one 
sees  an  expanse  of  rolling  country  stretching  away  to  the  blue  moun- 
tains. 


No.  144 

Thomas  de  Keyser 

Dutch  School  {i 5gs-i67g) 
PORTRAIT  OF  A  MAN 

Panel,  inscribed  "Aetatis  70.   Anno  1625."    Height,  5  inches;  width,  4  inches 

THIS  small  portrait  shows  an  elderly  man  with  ruddy  cheeks  look- 
ing directly  at  the  spectator  with  a  serious,  kindly  expression. 
His  white  hair  is  sparse  and  his  beard  and  mustache  are  closely 
cropped.  He  is  clothed  in  a  black  clerical  coat  with  a  row  of  buttons 
down  the  front,  and  a  narrow  white  collar  encircles  the  neck. 


[119] 


No.  145 


Thomas  de  Keyser 

Dutch  School  {i 595-1679) 

PORTRAIT  OF  A  WOMAN 
Panel,  inscribed  "Aetatis  63.  Anno  1625."   Height,  5  inches;  width,  4  inches 

THIS  companion  portrait  shows  the  placid  face  of  a  Dutch  woman 
who  looks  serenely  out  of  the  small  panel.  She  is  clothed  in  a 
black  gown  with  shell-like  shoulder-pieces,  opening  over  a  figured 
black  vest  with  a  row  of  buttons  down  the  front.  A  wide,  fluted  linen 
ruff  encircles  her  neck,  and  on  her  head  is  a  close-fitting  white  cap. 


No.  146 

Gerard  Terburg 

Dutch  School  {1614-1681) 
PORTRAIT  OF  A  MAN 

Panel.    Height,  6j4  inches;  width,  4^  inches 

THIS  small  oval  bust  portrait  shows  a  young  man  with  expressive 
brown  eyes,  fine  features,  and  a  small  mustache,  who  gazes  di- 
rectly at  the  observer.  His  long  brown  hair  is  parted  in  the  middle 
and  falls  down  on  his  shoulders.  He  is  clothed  in  black,  with  a  wide 
lace  collar  about  the  neck. 


[120] 


No.  147 
Philip  Wouvermans 

Dutch  School  {161Q-1668) 
LA  BARAQUE  DU  PECHEURS 

Canvas.   Height,  19  inches;  width,  25  inches 

IN  this  composition  a  hut  with  peaked  roof  crowns  the  top  of  a  slight 
hill,  in  front  of  which  rises  a  tree  in  full  foliage.  The  hill  slopes 
down  to  a  valley,  through  which  runs  a  stream  spanned  by  a  low  stone 
bridge,  on  which  stand  three  men  looking  over  the  parapet  into  the 
water.  A  boy  runs  forward  toward  two  other  men  at  the  left,  and  in 
the  foreground  a  man  in  a  red  cloak  sits  at  rest  on  a  gray  horse.  A 
group  of  three  men  stand  at  the  left.  The  river  stretches  away  in  the 
distance. 

Engraved  by  Jean  Moyreau,  1749. 
No.  202  of  Smith's  Catalogue  Raisonne. 
Collection  of  M.  Marin. 
Collection  of  Count  de  Bruhl,  1748. 


No.  148 


Meindert  Hobbema 


Dutch  School  {idsS-ijog) 


A  WATER-MILL 


Canvas.   Height,  19^  inches;  width,  26^  inches 


HIS  delightful  landscape  is  filled  with  sunlight,  hence  more  joy' 


X  ous  than  its  larger  companion.  In  the  foreground  some  tall  trees 
in  full  foliage  lean  over  a  small  pond,  whose  placid  waters  reflect  the 
tones  of  a  summer  sky  with  masses  of  white  clouds.  A  Dutch  farmer's 
house  with  high-peaked  roof  is  seen  in  the  distance,  before  which  stand 
a  man  and  a  woman.  A  peasant  in  the  foreground  urges  his  horse  for- 
ward across  a  small  bridge  which  spans  a  little  stream.  A  high  colour 
note  is  struck  in  a  long  red  cloth  which  hangs  over  the  back  of  the 
horse.  The  whole  composition  breathes  of  summer  and  the  sun,  mak- 
ing it  one  in  pleasing  contrast  to  the  other  work  by  the  same  master. 


No.  149 

Nicolas  Maes 

Dutch  School  {i6s2-i6g3) 
A  DUTCH  GENTLEMAN 

Canvas.    Height,  44  inches;  width,  36^^  inches 

SEEN  at  three-quarters  length,  seated  in  a  large  chair,  this  distin- 
guished-looking man  looks  directly  at  the  observer  with  calm 
gaze.  His  costume  of  black  with  a  wide  white  linen  stole  suggests 
that  he  may  be  a  preacher.  He  holds  a  pair  of  brown  gloves  in  his 
right  hand,  while  his  left  is  in  repose.  His  finely  modelled  head  is 
framed  in  a  mass  of  dark  brown  hair,  which  falls  in  curls  on  his 
shoulders. 

Painted  in  1667. 

Bought  of  Ascher  Wertheimer,  London. 

The  companion  portrait  of  his  wife  is  in  the  Boston  Museum. 


No.  150 


Gabriel  Metsu 

Dutch  School  {1630-166J) 
A  LADY  AT  HER  TOILET 

Panel.   Height,  8  inches;  width,  7  inches 

THIS  delightful  little  genre  shows  a  good-looking  young  woman 
seated  at  her  dressing-table,  gazing  intently  into  a  small  mirror. 
She  wears  a  loose  house  gown  of  light  red  material  with  a  white  apron 
and  cape,  and  a  small  cap  on  the  back  of  her  head.  In  her  hand  she 
holds  a  comb,  while  a  large  white  cloth  and  a  clothes-brush  are  care- 
lessly thrown  on  the  table,  which  is  covered  with  a  red  rug. 


No.  151 

Gabriel  Metsu 

Dutch  School  {i6jo-i66y) 
LA  CUISINIERE  HOLLANDAISE 

Panel.   Height,  9  inches;  width,  73^2  inches 

SEATED  at  a  table,  a  young  Dutch  woman  is  seen  scraping  a  fish 
spread  out  on  a  board  before  her.  She  has  rolled  up  her  sleeves, 
and  her  black  low-cut  bodice  covers  a  white  under-dress  which  comes 
up  to  the  neck.  Her  face,  framed  in  light  short  hair,  wears  a  pleased 
expression.  A  large  copper  kettle  on  the  table  to  her  left,  from  which 
the  fish  have  been  emptied,  shows  a  superior  bit  of  still-life  painting. 


No.  152 


Paulus  Moreelse 

Dutch  School  {i 57 1-1638) 


PORTRAIT  OF  A  LADY 


Canvas,  signed  with  monogram  and  inscribed  "Aetatis  26.  1626. 
Height,  473^  inches;  width,  37^^  inches 


HIS  portrait  shows  a  distinguished-looking  middle-aged  woman 


X  standing  at  a  table,  on  which  she  leans  her  right  hand.  She  wears 
a  dress  of  black  silk  with  long  lace  cuffs  at  the  wrists  and  a  vest-like 
front  of  golden  brocade  which  ends  in  a  row  of  leaf -shaped  ornaments 
braided  with  gold.  A  wide  double  fluted  ruff  edged  with  lace  en- 
circles her  neck  and  a  stiff  lace  cap  crosses  the  top  of  her  head.  A  triple 
strand  of  pearls  about  her  neck  and  wrists,  and  a  triple  gold  chain 
down  the  front  of  her  dress,  with  a  gold  ornament  under  the  front  of 
the  ruff  and  a  double  chain  about  her  waist,  complete  the  elaborate 
toilet.  A  dark  red  curtain  fills  the  background. 

Bought  of  Gimpel  &  Wildenstein. 
Collection  of  Mr.  Buttery,  London. 
Collection  of  M.  Merlin,  Paris. 


[125] 


No.  153 


Jacob  van  Ruysdael 

Dutch  School  {1628-1682) 
A  WATERFALL 

Canvas,  signed  on  the  right.    Height,  39  inches;  width,  34  inches 

IN  this  remarkable  canvas  the  great  painter  of  rushing  water  has 
shown  his  power  in  the  rendering  of  a  stirring  aspect  of  nature. 
He  has  portrayed  a  torrent  rushing  through  a  dark  rocky  gorge,  with 
a  ruined  castle  and  a  hut  crowning  the  cliffs  at  the  right.  The  troubled 
waters  of  the  cascade  fill  the  foreground.  On  the  left  a  cluster  of  pine 
trees  rises  from  the  cliffs,  above  which  is  a  sky  filled  with  storm  clouds. 
Though  painted  in  his  best  period,  between  1660  and  1670,  a  marked 
sentiment  of  melancholy  pervades  the  picture,  hinting  the  discourage- 
ment and  privation  the  artist  suffered  through  neglect,  although  pro- 
ducing such  masterpieces.  Dr.  Wilhelm  von  Bode,  of  the  Berlin  Mu- 
seum, expresses  his  opinion  of  the  picture  in  the  following  letter: 

Berlin,  26  May,  19 10. 

Dear  Monsieur  Gimpel: 

Your  large  picture  by  Jacob  van  Rulsdael  ("Waterfall"  with  ruins  on 
the  hill  to  the  right  and  a  hut  further  to  the  right),  that  you  had  the 
goodness  to  show  me,  is  of  great  beauty;  of  the  greatest  interest  on 
account  of  its  composition,  and  altogether  characteristic  of  the  master. 
It  is  in  a  perfect  state  of  preservation,  and  the  signature  on  the  right  is 
genuine.   Accept,  dear  sir,  the  assurance  of  my  highest  consideration. 

(Signed)  W.  Bode. 

Bought  of  Gimpel  &  Wildenstein. 

Illustrated 


[126] 


No.  153 
A  WATERFALL 
Jacob  van  Ruysdael 


No.  154 


Paulus  Moreelse 


Dutch  School  {i 5y  1-1638) 


PORTRAIT  OF  A  YOUNG  MAN 


Oval  panel.   Height,  6  inches;  width,  43^  inches 


THIS  miniature  portrait  shows  a  young  man  with  long  black  hair 
falling  over  his  ears  and  wearing  a  black  robe  under  a  wide 
fluted  collar  edged  with  lace.  A  red  velvet  curtain  and  the  base  of  a 
column  fill  the  background. 


HIS  half-length  miniature  portrait  shows  a  high-born  young 


X  woman  who  looks  directly  at  the  observer.  She  is  dressed  in  a 
black  dress  with  brown  brocade  sleeves,  above  which  is  a  wide  fluted 
ruff.  On  her  head  is  a  fluted  head-dress  edged  with  lace,  which  forms 
a  halo  about  her  head,  against  the  red  curtain  background.  About  her 
neck  are  several  strands  of  a  gold  chain.  A  section  of  a  column  is  seen 
at  the  left. 


No.  155 


Paulus  Moreelse 

Dutch  School  (1^71-1638) 


PORTRAIT  OF  A  YOUNG  WOMAN 

Oval  on  copper,  inscribed  "Aetatis  22."    Height,  6  inches;  vpidth,  4^^  inches 


i:i27n 


No.  156 


Caspar  Netscher 

Dutch  School  {1639-1684) 
THE  DUET 

Canvas.   Height,  29^^  inches ;  width,  24  inches 

AT  the  right  of  the  canvas  a  young  man  is  seen  seated,  playing  a 
'cello  accompaniment  to  the  singing  of  a  young  woman  who 
stands  in  the  foreground.  In  her  right  hand  she  holds  a  book,  while 
her  left  rests  lightly  on  the  back  of  a  chair.  She  wears  a  white  dress 
with  an  over-dress  of  pink  with  full  elbow  sleeves  trimmed  with  lace. 
A  black  and  white  spaniel,  seated  on  the  floor,  gazes  up  at  the  singer. 
In  the  soft  light  of  the  room,  a  high  piece  of  furniture  is  seen  back  of 
the  man. 


No.  157 

Caspar  Netscher 

Dutch  School  {1639-1684) 
THE  SEAMSTRESS 

Panel.   Height,  9  inches ;  width,  8  inches 

AN  attractive  young  woman  is  seen  seated,  her  right  hand  raised  in 
L  the  act  of  sewing.  She  wears  a  house  gown  of  pink  silk  with  wide 
sleeves,  and  a  long,  full  apron  covers  her  skirt.  On  her  head  is  a  white 
kerchief  which  falls  down  on  her  neck  at  the  back. 


1:128] 


No.  158 

Aert  van  der  Neer 

Dutch  School  {160S-16J'/) 
MOONLIGHT 

Oval  panel,  signed  with  initials.   Height,  15  inches;  width,  20  inches 

A  BOVE  the  placid  waters  of  a  river  on  which  float  some  Dutch  lug- 
Jr\.  gers,  the  moon  is  breaking  through  some  thin  fleecy  clouds.  Old 
houses  rise  on  either  bank  of  the  river,  and  two  tall  leafless  trees  are 
seen  on  the  left.  A  man  stands  in  a  boat  moored  to  the  left  bank,  fish- 
ing, and  two  others,  one  seated,  are  seen  on  the  shore  in  the  foreground. 
Altogether  excellent  is  this  example  of  the  poetic  painter  who  loved 
the  quieter  moods  of  nature. 


No.  159 

Aert  van  der  Neer 

Dutch  School  {i6os-i6'j'j) 
SKATERS 

Panel.    Height,  7  inches;  width,  12^  inches 

THIS  sketch  shows  some  skaters  on  a  frozen  pond  in  the  centre  of 
a  village.  Trees  line  each  side  of  the  pond,  and  a  row  of  high- 
roofed  houses  is  seen  on  the  left.  In  the  distance  a  church  spire  rises 
above  the  roofs,  which  are  sprinkled  with  snow.  Light  snow  also 
covers  the  roadway  in  the  foreground. 


1 129:1 


No.  160 


Michiel  J.  Mierevelt 


Dutch  School  {1567-1641) 


PORTRAIT  OF  A  MAN 


Canvas.   Height,  39  inches;  width,  29  inches 


RATHER  youthful-looking  man  is  portrayed  standing  beside  a 


table  on  which  he  leans  his  right  arm  on  a  book,  across  the  pages 
of  which  appear  Latin  text  and  the  name  Amerbarchius.  His  left  hand 
is  raised  to  his  waist.  He  wears  a  black  suit  with  a  narrow  gold  belt, 
below  which  is  a  row  of  bows  with  gold  tassels.  A  wide  ruff  encircles 
his  neck  and  fluted  cuffs  edged  with  lace  are  at  his  wrists.  His  well 
shaped  head  is  crowned  with  short  brown  hair.  Formerly  this  was 
called  the  portrait  of  Amerbarchius,  but  this  celebrated  printer  of  the 
fifteenth  century,  as  well  as  his  son,  Boniface,  a  professor  of  law  at  the 
University  of  Basle  and  friend  of  Erasmus,  both  died  before  Mierevelt 
was  born. 


No.  161 


Jan  van  Goyen 


Dutch  School  {i^g6-i666) 


RIVER  IN  HOLLAND 


Oval  panel,  signed  and  dated  1658.    Height,  11}^  inches;  width,  155^  inches 

IN  the  foreground  of  this  pleasing  low-toned  landscape  a  group  of 
peasants  are  seen  in  a  flatboat  which  is  being  ferried  across  the 
stream  that  stretches  away  to  the  left.  Two  other  boats  are  near  by. 
On  the  right  a  high  church  spire  rises  beyond  some  house-tops,  shaded 
by  trees.  Through  the  masses  of  clouds  in  the  sky,  patches  of  blue  are 
discernible. 

Collection  of  Countess  Mniszech. 


No.  162 

Jan  van  Goyen 

Dutch  School  {i 5g6-i666) 
DUTCH  LANDSCAPE 

Panel.   Height,  17  inches;  width,  23  inches 


NDER  a  large  tree  at  the  left  a  peasant  is  seen,  seated  convers- 


\^  ing  with  two  companions  standing  before  him.  Some  old  farm- 
houses rise  at  the  back.  At  the  right  a  cart  filled  with  other  peasants 
is  lumbering  away  toward  a  stretch  of  low  ground  where  flows  a  slug- 
gish river. 


No.  163 


Aert  van  der  Neer 

Dutch  School  (jdoj-idyy) 


WINTER  SCENE 


Canvas,  signed  in  monogram.    Height,  22  inches ;  width,  33  inches 


NDER  a  wintry  sky  with  patches  of  blue  showing  through  heavy 


\^  clouds,  numerous  skaters  of  both  sexes  disport  themselves  on  the 
frozen  surface  of  a  river  or  gather  in  groups  along  its  banks.  Along 
the  low  shore  in  the  foreground,  a  number  of  figures  are  seen,  one 
flourishing  a  hockey  stick.  All  are  heavily  clad,  some  in  long  cloaks. 
In  the  distance  are  seen  the  towers,  spires,  and  buildings  of  a  city, 
probably  Amsterdam,  where  the  artist  was  born  and  lived.  Painted  in 
a  low  and  quiet  colour  scheme,  a  sense  of  winter  pervades  the  picture. 

Bought  of  Charles  Sedelmeyer,  Paris. 

Exhibited  at  the  Royal  Academy  Exhibition  of  Old  Masters,  1894. 
Exhibited  at  the  Corporation  Art  Gallery  Exhibition,  1895. 
Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1900. 


111323 


No.  164 


Antonio  Moro 


Dutch  School  {i^i2-i^'/y) 


PORTRAIT  OF  A  SPANISH  NOBLEMAN 


Panel.   Height,  19  inches;  width,  17  inches 


HE  artist  here  has  portrayed  an  elderly  man  with  stern  visage 


X  and  scanty  white  hair,  and  wearing  a  white  mustache  and  im- 
perial. His  searching  black  eyes  gaze  directly  at  the  observer.  The 
face  is  finely  modelled,  the  flesh  tones  are  beautifully  rendered,  and 
the  expression  is  lifelike.  Seen  at  bust  length,  he  wears  a  black  coat 
and  a  large,  fluted  ruff  about  his  neck,  reaching  his  ears. 


HANDSOME  young  French  nobleman  is  seen  at  half  length  in 


this  striking  portrait,  his  fresh,  beardless  face  framed  with  its 
curled  and  powdered  wig  ending  in  a  queue  with  black  ribbon  bow  at 
the  back.  He  gazes  directly  out  of  the  picture  above  a  white  stock. 
His  white  coat  parts  to  show  a  white  waistcoat,  down  the  centre  of 
which  falls  a  gilt-ornamented  band.  In  his  right  hand  he  holds  a  gold- 
topped  cane. 


No.  165' 

J.  Hode  (or  Hodius) 

Dutch  School  {XVII  Century) 


MARQUIS  DE  BOUGAINVILLE 

Canvas.    Height,  30  inches;  width,  23  inches 


[133] 


No.  166 


Michiel  J.  Mierevelt 

Dutch  School  {1567-1641) 
A  YOUNG  WOMAN  OF  NOBLE  FAMILY 

Canvas,  dated  1601.   Height,  41  inches;  width,  33  inches 

THIS  attractive  young  woman  of  about  thirty  is  portrayed  stand- 
ing, seen  at  three-quarters  length,  and  looking  directly  at  the 
observer.  She  wears  a  black  gown  with  a  vest  of  golden  brocade,  a 
wide,  fluted  ruff,  and  a  head-dress  of  white  lace.  A  heavy  double  gold 
chain  with  a  jewelled  pendant  adorns  the  front  of  the  corsage.  She 
holds  a  small  red  book  in  her  right  hand,  and  in  the  left  the  end  of  a 
long  gold  chain  from  which  a  locket  depends. 


No.  167 

Michiel  J.  Mierevelt 

Dutch  School  {i 567-1641) 

A  YOUNG  WOMAN 
Canvas.   Height,  263^  inches;  width,  22  inches 

THIS  half-length  portrait  shows  a  young  woman  standing  before 
a  small  table  covered  with  a  red  cloth.  She  is  dressed  in  a  low- 
cut  gown  of  flowered  brocade  with  wide  sleeves  ending  in  lace  cuffs. 
She  holds  her  left  hand  to  her  breast,  and  there  is  a  row  of  pearls 
around  her  neck  and  a  double  row  about  her  wrist.  Her  brown  hair 
falls  about  her  neck,  and  her  expression  is  sweet  and  pensive. 


1:134: 


No.  168 


Govaert  Flinck 

Dutch  School  {161 S-1660) 
PORTRAIT  OF  A  GENTLEMAN 

Canvas.    Height,  25  inches;  width,  21  inches 

THIS  bust  portrait  of  a  handsome  young  man  represents  Rem- 
brandt's brilliant  pupil  at  his  best,  and  is  strongly  reminiscent 
of  the  master  himself  in  colour  and  brushwork.  His  face,  wearing  a 
mustache,  is  framed  by  his  long  hair  falling  on  either  side  to  his  shoul- 
ders, and  is  crowned  by  a  large  black  velvet  cap  with  a  feather  stand- 
ing out  at  the  back.  His  simple  black  coat  opens  in  front  over  a  white, 
pleated  linen  shirt  and  a  low-cut  waistband,  across  the  top  of  which 
runs  a  broad  ornamental  band,  from  which  a  large  pearl  is  pendent. 
This  portrait  was  formerly  thought  to  be  the  work  of  Ferdinand  Bol, 
but  experts  later  have  attributed  it  to  Flinck. 

Bought  of  Charles  Sedelmeyer,  Paris. 

Illustrated  in  the  Sedelmeyer  Catalogue  of  Old  Masters,  1905. 
Collection  of  Mme.  Godefroy,  Paris. 


[135] 


No.  169 
Antonio  Moro 

Dutch  School  {1^12-1  jyy) 
PORTRAIT  OF  A  LADY 

Panel.   Height,  13  inches;  width,  12  inches 

THIS  finely  modelled  little  bust  portrait  shows  a  young  woman 
whose  head  is  slightly  tipped  toward  her  left  shoulder,  beneath 
a  black  bonnet  of  quaint  shape,  trimmed  with  jewelled  gold  bands, 
and  completely  covering  her  head  and  ears.  Her  black  bodice  is  low 
and  square  in  the  neck,  and  she  wears  two  long  necklaces,  each  with  a 
jewelled  pendant,  the  lower  of  gold,  the  upper  of  black  pearl.  There 
is  a  narrow  edging  of  lace  and  jewelled  ornaments  around  the  upper 
part  of  the  bodice,  and  a  strip  of  gold  galloon  falls  from  the  shoulders 
just  below  the  lower  necklace. 


No.  170 

Frans  Pourbus  the  Younger 

Flemish  School  (1^69-1622) 

HEAD  OF  A  YOUNG  WOMAN 
Panel.    Height,  y}^  inches;  width,  6  inches 

DELICACY  of  drawing  and  nicety  of  brushwork  characterize  this 
small  portrait  of  a  fair-haired  young  woman,  whose  pretty  face 
is  well  set  off  by  a  large  fan-like  lace  ruff  about  her  neck.  There  are 
flowers  and  jewels  in  her  hair  and  an  elaborate  necklace  encircles  her 
throat. 


No.  171 


Jan  Both 


Dutch  School  {1610-1652) 


LANDSCAPE 


Canvas.    Height,  48  inches;  width,  45^  inches 


HIS  joyous  landscape  reflects  the  influence  of  Claude  in  his  love 


X  of  vast  perspectives  and  golden  atmosphere.  The  scene  is  a 
valley  between  high  mountains,  with  distant  mountains  bathed  in  a 
warm  atmosphere.  Against  the  golden  sky  tall  trees  spread  their 
branches  at  the  right,  while  from  a  rocky  cliff  at  the  left  some  smaller 
branches  wave  in  the  breeze.  In  the  foreground  some  peasants  are 
coming  up  a  mountain  road  with  a  cow  and  a  mule.  The  peasants  and 
animals  were  probably  put  in  by  the  artist's  brother,  Andre,  as  was  the 
custom  of  the  two  brothers,  who  had  equal  facility  in  their  own  lines. 


1:1373 


No.  172 

Frans  Pourbus  the  Younger 

Flemish  School  (1^69-1622) 
OLYMPIA  BORGIA 

Canvas.    Height,  49^  inches;  width,  39  inches 

THIS  portrait  shows  a  tall  and  slender  young  woman  of  patrician 
bearing  attired  in  a  tight-fitting  brocade  gown  of  brown  and 
white,  with  long,  flowing  sleeves  opening  at  the  elbow  over  tight  em- 
broidered under-sleeves  reaching  to  the  wrists.  The  bodice  is  stiff  and 
pointed,  and  the  costume  is  completed  by  a  wide,  lace-trimmed  Eliza- 
bethan ruff.  Across  the  top  of  her  head  runs  a  flowered  band,  and  in 
her  left  hand  at  her  side  she  holds  an  embroidered  handkerchief.  Her 
right  hand  rests  on  a  casket  placed  on  a  table  covered  with  a  red  cloth. 
The  arms  of  the  Borgia  family  are  seen  in  the  upper  left-hand  corner 
of  the  canvas. 

Collection  of  M.  Gavet,  Paris. 


1:138: 


No.  173 


Nicolas  Maes 

Dutch  School  {i6s2-i6gs) 

PORTRAIT  OF  A  MAN 
Canvas,  signed.   Height,  26^  inches;  width,  223^  inches 

IN  this  work  of  sumptuous  colour  a  young  man  of  noble  bearing  is 
seen  at  three-quarters  length,  standing  beside  a  table  on  which  he 
rests  his  left  hand.  His  brown  hair  falls  in  curls  over  his  shoulders 
almost  to  his  waist.  He  wears  a  loose  silk  dressing-gown  of  russet 
colour,  open  in  front,  over  a  long  jabot  of  white  lace.  Lace  ruffles  fin- 
ish the  sleeve  ends  and  a  red  scarf  falls  across  the  arms.  The  beardless 
face  with  fine  clear  eyes  is  turned  slightly  to  the  right.  A  sculptured 
Cupid  stands  on  a  pedestal  in  the  background  at  the  right. 


ri39ll 


No.  174 

Jan  Wynants 

Dutch  School  {161 5-i6jg) 
LANDSCAPE  WITH  FIGURES 

Panel.   Height,  14^/2  inches;  width,  1634  inches 

THIS  work,  by  one  of  the  founders  of  the  Dutch  school  of  land- 
scape painting,  shows  the  rolling  country  of  Flanders,  with  vari- 
ous figures,  a  covered  van,  and  dogs.  There  are  also  shown  two  boys 
tumbling.  It  is  a  restful  picture  with  a  fine  sky,  and  finished  with 
great  care. 

Bought  of  Charles  Sedelmeyer,  Paris. 


No.  175 
Adrian  van  Ostade 

Dutch  School  {1610-1685) 

BOORS  SMOKING 
Panel.   Height,  11  inches;  width,  9  inches 

AT  a  small  table,  on  which  are  a  tall  wine- jar  and  a  pipe,  a  peasant 
sits,  holding  a  flat  jar  filled  with  tobacco  and  a  pipe  which  he  is 
about  to  fill.  He  wears  a  coarse  brown  tunic,  with  a  linen  ruff,  and 
gray  breeches,  and  on  his  head  is  a  gray  hat.  In  the  background  a 
servant-maid,  holding  an  earthen  jar,  stands  conversing  with  two  peas- 
ants in  blue  smocks  who  are  playing  cards.  The  room  is  softly  lighted 
from  an  open  window  at  the  rear. 

Bought  of  Charles  Sedelmeyer,  Paris. 


[140] 


No.  176 


Adrian  van  Ostade 


Dutch  School  {1610-1685) 


TWO  PEASANTS  IN  AN  INN 


Panel.    Height,  g  inches;  width,  6  inches 


HIS  tavern  scene,  such  as  Dutch  artists  loved  to  paint,  shows  two 


X  young  peasants  seated  at  a  table  on  which  lie  an  ash-tray  and  a 
long-stemmed  clay  pipe.  One,  in  blue  coat  and  brown  breeches,  holds 
a  pipe  in  his  right  hand  and  a  tobacco-jar  in  his  left,  as  he  looks  for- 
ward with  a  tipsy  leer.  His  companion,  wearing  a  flat  cap  of  red  cloth, 
leans  toward  him,  his  right  arm  across  the  other's  shoulder,  while  in  his 
left  he  holds  a  pewter  tankard  and  presses  him  to  drink. 

Bought  of  Charles  Sedelmeyer,  Paris. 
Collection  of  Van  Papelendam  &  Schouten,  Amsterdam. 
Collection  of  Goll  van  Frankenstein,  Amsterdam,  sold  1833. 
Collection  of  Municks  van  Cleef,  Utrecht,  1862. 
Collection  of  Christoph  Rhaban  Ruhl,  Cologne,  1876. 


No.  177 


Jan  Steen 

Dutch  School  {1626-16'jg) 

LA  MAUVAISE  MENAGERE 
OR,  THE  EFFECTS  OF  INTEMPERANCE 

Canvas.    Height,  45  inches;  width,  54^  inches 

THIS  large  and  important  composition  shows  seven  principal  and 
two  subsidiary  figures  and  manifests  the  artist's  sympathy  with 
Dutch  domestic  life,  which  he  portrays  with  a  keen  sense  of  humour. 
The  central  figure  of  the  story  is  a  young  woman  who  is  calmly  sleep- 
ing on  the  door-step  of  her  house,  her  head  resting  on  her  left  forearm. 
She  wears  a  skirt  of  dark  red  material,  with  a  loose-fitting  high-necked 
pink  jacket  trimmed  with  bands  of  fur.  On  her  head  is  a  white  cap. 
Two  maidens  and  four  urchins  seize  the  opportunity  to  amuse  them- 
selves at  her  expense.  A  small  boy  is  extracting  his  hand  from  the  bag 
pendent  from  her  waist,  while  one  of  the  girls,  wearing  a  blue  gown 
with  a  white  collar  and  apron  and  kneeling  on  the  step,  holds  a  wine- 
glass up  to  a  green  parrot.  Behind  her  stand  a  boy  and  girl,  the  boy 
holding  a  cat  which  is  eating  from  a  dish,  while  a  pig  is  eating  some 
refuse  thrown  down  by  an  urchin.  Some  fruit  and  a  pewter  tankard 
in  the  foreground  are  admirably  painted. 

Bought  of  Charles  Sedelmeyer,  Paris. 

No.  136  of  Smith's  Catalogue  Raisonne. 

Collection  of  Thomas  Emmerson,  1832. 

Collection  of  J.  Aronson,  Esq.,  London. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1896. 


No.  178 


Gonzales  Coques 

Flemish  School  {1618-1684) 
PORTRAIT  OF  A  FAMILY  GROUP 

Canvas.   Height,  27  inches;  width,  33  inches 

THIS  is  an  interesting  family  group  with  no  less  than  thirteen 
figures,  richly  costumed  and  somewhat  stiffly  posed.  The  prin- 
cipal figures,  an  elderly  man  and  his  wife,  are  seated  in  arm-chairs 
on  a  dais,  flanked  on  either  side  by  their  sons  and  daughters.  The  man 
wears  a  Van  Dyck  beard,  is  dressed  in  velvet  short  clothes  with  a  wide 
collar  and  a  conical  hat,  and  holds  a  pair  of  gloves  in  his  hand.  His 
wife  is  dressed  in  black  with  a  white  linen  shoulder  cape.  Two  grand- 
children stand  at  the  right,  the  smaller  playing  with  a  dog,  while  an- 
other dog  frisks  about  below.  Five  men,  all  richly  dressed,  stand 
about  on  either  side,  conversing  with  four  ladies  handsomely  gowned. 

Bought  of  Charles  Sedelmeyer,  Paris. 

No.  20  of  Smith's  Catalogue  Raisonne,  Part  IV. 

Collection  of  Count  Manfreni,  Venice. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1896. 


No.  179 


Peter  Paul  Rubens 

Flemish  School  {i 57^-1640) 
THE  VIRGIN  GIVING  A  ROSARY  TO  SAINT  DOMINIC 

Canvas.    Height,  16  inches;  width,  12}^  inches 

IN  its  well  balanced  composition,  its  harmonious  colour,  and  the 
beauty  of  the  Virgin  and  Child,  this  sketch  is  well  worthy  the  hand 
of  the  great  Flemish  master.  The  Virgin  stands  in  the  centre,  her  right 
arm  outstretched  to  the  kneeling  saints  grouped  about  her  feet.  With 
her  left  arm  she  holds  the  Child,  who  stands  beside  her.  She  wears  a 
long  red  robe  with  a  filmy  lace  scarf,  while  her  blue  mantle  is  draped 
over  her  left  arm.  Saint  Dominic  takes  the  rosary  from  her,  and  beside 
him  are  Saint  Thomas  Aquinas  and  Saint  Isadore.  Saint  Catherine,  in 
a  white  robe,  kneels  in  the  foreground,  and  at  the  right  are  a  king  and 
a  pope,  probably  Pius  V,  who  instituted  the  rosary.  This  sketch  was 
made  by  Rubens  for  the  altar  of  the  Dominican  church  at  Lier.  The 
painting  was  sold  in  1767  to  Count  de  Cobenzl,  who  sold  it  to  the  Her- 
mitage in  Petrograd,  where  it  still  is. 

Bought  from  Charles  Sedelmeyer. 
Engraved  by  A.  Lammelir. 

Described  in  Max  Rooses'  "Rubens,"  Vol.  I,  p.  543. 


D44II 


No.  180 


Bernard  van  Orley 


Flemish  School  {i^g i-i 542) 


THE  HOLY  FAMILY 


Panel.   Height,  17J/2  inches ;  width,  123/2  inches 


lT  the  foot  of  a  large  tree  whose  leaves  are  just  visible  at  the  top 


Jr\.  of  the  picture,  the  Virgin  is  seated.  With  her  left  arm  she  holds 
close  to  her  the  Child,  who  stands  on  her  left  knee,  while  she  stretches 
out  her  right  hand  to  Saint  Joseph,  who  holds  out  a  basket  of  fruit  to 
the  Child.  In  his  left  hand  the  Child  holds  an  apple.  The  red  colour 
of  the  Virgin's  skirt  is  repeated  in  her  sash  knotted  on  her  right  shoul- 
der, in  a  mantle  thrown  on  the  ground  at  the  left,  and  in  an  outer 
wrap  of  Saint  Joseph  which  the  wind  blows  out  behind  him.  The 
Virgin's  tunic  is  of  deep  blue.  In  the  background  is  seen  a  small  lake, 
beyond  which  rise  blue  mountains. 


No.  181 


Bernard  van  Orley 


Flemish  School  (1491-1^^2) 


TWO  WINGS  OF  A  TRIPTYCH 


Panels.   Height,  each,  415^  inches;  width,  each,  11^  inches 


N  these  outer  wings  of  an  altarpiece  there  are  represented,  pre- 


V_>/  sumably,  the  donors,  a  man  and  a  woman  in  princely  robes, 
offering  their  gifts.  In  the  left  panel  a  woman  is  seen  holding  a  heav- 
ily chased  bronze  urn,  with  the  cover  in  her  upraised  hand,  as  if  to 
reveal  its  contents.  She  is  richly  attired  in  a  low  bodice  of  blue  velvet 
embroidered  with  gold,  white  sleeves,  and  skirt.  A  red  scarf  covers 
her  head  and  falls  across  the  lower  part  of  her  dress  to  the  ground.  A 
large  ornament  holds  the  scarf  in  place  above  her  forehead.  A  Flem- 
ish landscape  with  a  castle-crowned  hill  fills  the  background.  In  the 
right  panel  a  black-bearded  man  holds  a  crown  of  thorns  wrapped  in 
a  white  cloth.  He  wears  a  black  robe  with  a  cape  of  leopard's  skin, 
and  a  gold  ornament  on  his  right  shoulder.  On  his  head  is  a  curious 
hat  with  a  wide  rim  from  which  rises  a  conical  red  top  surmounted  by 
a  gilt  crown  of  acorns  and  leaves.  A  yellow  neck-cover  falls  from 
under  the  hat.  In  the  background  are  a  small  house  with  some  figures 
in  front  and  a  tall  blue  crag  rising  from  the  landscape. 


No.  182 

Jan  Fyt 

Flemish  School  {161 1-1661) 
STILL-LIFE  WITH  PEACOCK 

Canvas.    Height,  44  inches;  width,  65  inches 

THIS  composition  shows  various  game  birds,  together  with  a  large 
peacock  and  a  rabbit,  spread  out  on  a  table.  A  cat,  seen  on  the 
stone  wall  at  the  right,  seems  much  drawn  toward  the  display,  from 
which  she  is  about  to  have  a  meal.  The  objects  are  painted  with  care- 
ful attention  to  detail. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  191 1. 

No.  183 

Frans  Snyders 

Dutch  School  {1579-1657) 
STILL-LIFE  WITH  ROEBUCK 

Canvas.    Height,  48  inches;  width,  71  inches 

IN  a  tavern  room  a  large  table  is  seen  covered  with  good  things  ready 
for  the  kitchen.  In  the  centre  is  a  roebuck  beside  an  urn  on  which 
rests  the  head  of  a  wild  boar.  Near  by  are  a  lobster  and  a  mass  of 
vegetables,  also  flowers  and  luscious  fruits.  On  a  window-sill  is 
perched  a  gorgeously  plumed  parrot,  which  seems  unaware  of  the  pres- 
ence of  a  sly  tabby  that  has  been  attracted  to  the  scene. 

Illustrated  In  Sedelmeyer's  Catalogue  of  Old  Masters,  191 1. 


nr47: 


No.  184 

Thomas  de  Keyser 

Dutch  School  ii595-i6yg) 
PORTRAIT  OF  A  MAN 

Panel.   Height,  9  inches ;  width,  6^  inches 

THE  thoughtful  face  of  this  small  portrait  of  a  gentleman  looks 
out  from  under  the  rim  of  his  high,  conical  black  hat,  as  if  con- 
tented with  the  world.  The  face  is  seen  in  three-quarters  view,  and  he 
holds  a  shell  in  his  left  hand.  In  expression,  flesh  tones,  and  textures 
it  emphasizes  the  strength  of  the  artist's  craftsmanship  and  will  de- 
light his  admirers. 

Collection  of  Sir  George  Donaldson,  London. 

Illustrated  in  Oldenbourg's  "Thomas  de  Keyser  as  a  Painter,"  Leipsic,  191 1. 


No.  185 

Thomas  de  Keyser 

Dutch  School  (i^g^-idyg) 
PORTRAIT  OF  A  MAN 

Oval  on  copper.    Height,  5^  inches;  width,  4^  inches 

FROM  his  expression  and  features,  the  subject  of  this  portrait  is 
presumably  a  professor  or  preacher.  He  wears  a  pointed  blond 
beard  and  mustache,  and  his  blond  hair  falls  over  his  ears.  His  eyes 
shine  with  keen  intelligence.  A  white  rulf,  edged  with  lace,  falls  from 
the  neck  over  a  black  brocaded  coat  and  is  held  by  cords  with  pendants. 


1:148] 


No.  186 

Paulus  van  Somer 

Flemish  School  {1    6-1 621) 
ANNE,  WIFE  OF  JAMES  I 

Canvas.    Height,  83  inches;  width,  51  inches 

THIS  interesting  portrait  shows  the  queenly  Anne  of  Denmark, 
consort  of  James  I  of  England,  at  about  forty  years  of  age, 
standing  at  full  length,  in  a  quaint  and  decorative  costume.  This  con- 
sists of  a  skirt  of  rose  brocade  with  a  very  tight,  low-cut  bodice,  fin- 
ished at  the  waist  by  a  fluted  ruffle  which  stands  stiffly  out  over  the 
hips.  About  her  neck  is  an  enormously  high  Elizabethan  ruff,  which 
sets  well  back  from  the  neck  and  shoulders.  The  brocade  of  the  skirt 
shows  a  flowered  pattern,  the  detail  of  which  is  wonderfully  painted, 
as  is  the  detail  throughout.  A  rope  of  large  pearls  encircles  the  neck 
under  the  ruff  and  falls  to  the  stomacher,  where  it  is  looped  and  drops 
in  two  strands.  She  wears  bracelets  of  three  rows  of  pearls,  and  in 
her  right  hand  holds  a  closed  fan  of  long  feathers  of  several  colours. 
Her  powdered  hair  is  coifed  high  and  studded  with  ornaments  and  a 
white  pompon.  Her  left  hand  rests  on  a  table  covered  with  an  em- 
broidered cloth.  The  artist  went  to  London  in  1606,  where  he  painted 
members  of  the  court  and  other  distinguished  people  of  the  time. 

Collection  of  the  Duke  of  Fife,  Duff  House,  Scotland. 


D49] 


No.  187 


Abraham  van  den  Tempel 

Dutch  School  {1622-1672) 
LORD  HYDE  AND  FAMILY 

Canvas.    Height,  73  inches;  width,  99  inches 

THE  artist,  who  was  a  follower  of  Van  der  Heist,  has  presented  a 
fine  family  group,  consisting  of  Lord  and  Lady  Hyde  and  their 
two  daughters.  The  parents  are  seated  in  the  centre,  with  the  daugh- 
ters one  at  either  side.  Lord  Hyde  is  attired  in  black,  with  collar  and 
sleeve  ends  of  white,  and  a  black  velvet  cape  over  his  left  shoulder. 
His  fresh  young  face  is  framed  by  luxuriant  dark  brown  hair.  Lady 
Hyde,  seated  at  her  husband's  right,  wears  a  low-neck  gown  of  white 
silk  with  a  pointed  waist,  and  puffed  sleeves  full  at  the  elbow.  A  long 
double  rope  of  pearls  encircles  her  neck  and  falls  down  in  front,  with 
one  row  looped  up  at  the  corsage,  where  it  is  clasped  by  a  large  brooch. 
She  extends  her  right  hand  toward  her  daughter.  The  taller  of  the 
two  daughters  stands  at  the  right  of  the  canvas,  clad  in  a  decollete 
gown  of  yellow  silk  and  holding  a  blue  silk  sash  to  her  bosom  with  her 
right  hand.  The  younger  daughter,  at  her  mother's  left,  wears  a  red 
gown  and  holds  a  jewel-box  in  her  hands.  A  small  dog  plays  on  the 
floor  before  them. 

Collection  of  the  Earl  of  Clarendon. 
From  Haydon  Hall,  Norfolk. 


[150:1 


No.  188 

Bartholomeus  de  Bruyn 

Dutch  School  {1493-1 556) 
PORTRAIT  OF  A  MAN 

Panel  with  arched  top.    Height,  13  inches;  width,  9^  inches 

ASTERN-FACED  old  gentleman  is  shown  in  this  small  portrait, 
whose  dress  gives  him  a  magisterial  appearance.  His  black  robe 
has  a  broad  fur  collar  and  on  his  head  is  a  black  cap.  He  rests  his  right 
hand  on  a  table  beside  him,  and  in  his  left  holds  a  folded  paper.  The 
face,  which  is  finely  modelled,  is  framed  by  the  white  beard  and  mus- 
tache. 


No.  189 

Bartholomeus  de  Bruyn 

Dutch  School  {i 493-1 556) 
PORTRAIT  OF  A  WOMAN 

Panel  with  arched  top.    Height,  13  inches;  width,  9^4  inches 

THIS  companion  portrait  shows  an  elderly  woman  holding  a  small 
red  book  in  her  hands,  which  rest  on  the  table  before  her.  She 
is  simply  yet  richly  dressed  in  a  black  velvet  gown  lightly  trimmed 
with  gilt  braid.  On  her  head  is  a  small  bonnet  over  a  cap  of  white 
filmy  material  from  which  a  veil  falls  down  behind.  Her  wide  sleeves 
are  turned  back  to  show  a  fur  lining. 


No.  190 

Quirin  Gerretz  van  Brekelenkamp 


Dutch  School  {1620-1668) 


INTERIOR  WITH  FIGURES 


Panel.   Height,  163/2  inches;  width,  13  inches 


HIS  Dutch  interior  is  a  harmonious  setting  for  the  peasant  coS' 


I  tume  of  a  young  mother  and  child.  The  matron  stands  in  front 
of  a  large  table,  facing  an  open  window,  and  before  her  is  a  barrel,  over 
which  she  washes  an  old-fashioned  utensil.  She  wears  a  long  skirt 
with  low-cut  red  bodice,  and  a  small  cap  half  covers  her  head.  At  the 
table  sits  a  rustic  in  brown  homespun  and  brown  hat,  who  holds  out  a 
glass  of  cider  to  the  child.  Through  an  open  door  at  the  back  one  looks 
into  a  farther  room  in  half  shadow. 


No.  191 

Domenicus  van  Tol 

Dutch  School  {i6ss-i6y6) 
TOILET  OF  A  CHILD 

Canvas.   Height,  16^/2  inches ;  width,  13  inches 


SEATED  in  the  strong  light  from  a  window  on  the  left,  an  old 
woman  is  cutting  the  blond  curly  hair  of  a  boy  who  kneels  before 
her,  resting  his  head  on  her  knee.  The  old  woman,  with  spectacles  on 
her  nose,  is  intent  on  her  task.  She  wears  a  low,  close-fitting  cap,  a 
blue  skirt  with  long  red  over-dress,  and  a  large  white  collar,  half  open 
at  the  neck.  A  large  jar  stands  on  the  floor  to  the  right. 


No.  192 

Peter  Paul  Rubens 

Flemish  School  {1^^-1640) 

PORTRAIT  OF  A  WOMAN 
Canvas.    Height,  403^  inches;  width,  313^  inches 


HIS  portrait  shows  a  serious-looking  young  woman,  seen  at  three- 


X  quarters  length,  seated,  gazing  directly  at  the  observer.  She  is 
richly  dressed  in  a  bluish-black  gown  and  holds  a  lace-edged  handker- 
chief in  her  hands.  Her  fair  hair  is  simply  coifed  and  is  held  by  a 
narrow  gold  band  at  the  back  of  her  head,  a  few  locks  straying  over 
her  forehead  and  temples.  Her  dress  has  wide  puffed  sleeves,  ending 
in  fluted  cuffs  edged  with  lace,  and  an  elaborate  lace  collar  encircles 
her  neck,  covering  the  upper  part  of  her  bodice.  The  dress,  opening 
in  front,  discloses  an  under-vest  of  embroidered  satin,  down  which 
falls  a  double  strand  of  pearls,  and  a  heavy  chain,  suspended  beneath 
the  collar,  is  caught  up  in  the  centre  by  a  cross.  Bracelets  of  elaborate 
design  encircle  her  wrists.  A  heavy  curtain,  draped  at  the  left,  forms 
a  contrasting  background. 

Bought  of  Charles  Sedelmeyer,  Paris. 
Collection  of  Baron  Niesewand,  of  Mulheim. 


No.  193 


David  Teniers  the  Younger 

Dutch  School  (i6io-i6go) 
PEASANTS  SINGING 

Panel.    Height,  10  inches;  width,  8  inches 

IN  a  village  inn  four  peasants,  three  of  whom  are  seated,  are  seen 
singing.  One  of  the  three,  wearing  a  pink  coat  and  red,  fur- 
trimmed  cap,  sings  with  wide-open  mouth  and  accompanies  himself 
on  a  mandolin.  Another  of  the  three,  in  blue  coat  and  brown  breeches, 
with  head  thrown  back,  sings  lustily  from  a  sheet  of  music.  The 
others  beat  time  with  their  hands.  A  face  peers  through  an  open 
window  on  the  left. 


No.  194 

Albert  Cuyp 

Dutch  School  {1620-1691) 
LANDSCAPE  WITH  A  WHITE  HORSE 

Canvas.    Height,  10  inches;  width,  14  inches 

IN  the  foreground  a  large  white  horse,  saddled  and  bridled,  stands 
patiently,  his  head  turned  slightly  as  if  watching  for  his  master. 
The  gray  stone  walls  and  turret  of  a  small  chateau  rise  in  the  distance, 
and  in  the  landscape  at  the  right  some  sheep  repose,  bathed  in  the  soft, 
warm  light  of  a  peaceful  summer  afternoon. 


No.  195 

Adrian  van  Ostade 

Dutch  School  {1610-1685) 
JOYOUS  COMPANY 

Panel.    Height,  15  inches;  width,  12  inches 


a  table  in  a  cabaret  sits  a  young  gallant  smoking.  At  his  side 
is  a  young  woman,  richly  dressed,  who  holds  a  tulip  in  her  hand. 


It  is  painted  with  the  great  care  which  this  artist  invariably  gave  to 
his  work. 


No.  196 

Hans  Memling 

Flemish  School  {14JO-1494) 
MADONNA  AND  CHILD 

Panel.    Height,  5%  inches;  width,  5^4  inches 

BEAUTY  of  colour,  the  rapt  devotional  expression  of  the  Virgin, 
and  the  fine  landscape  background  are  the  features  of  this  ex- 
quisite little  Primitive  composition.  The  Virgin  is  portrayed  stand- 
ing in  the  foreground,  holding  up  the  Child,  who  is  entirely  nude.  He 
lovingly  presses  his  right  cheek  against  hers  and  touches  her  chin  with 
his  hand  as  he  holds  a  little  cup  against  his  right  thigh.  The  Virgin  is 
clothed  in  a  robe  of  rich  brown  material,  and  her  brown  hair  falls  over 
her  right  shoulder  to  her  waist.  Behind  her  is  a  tree  in  full  foliage, 
with  others  in  the  distance  and  some  houses  in  the  landscape  bounded 
by  blue  hills. 


D5s:i 


No.  197 


Gerard  Terburg 


Dutch  School  {1614-1681) 


INTERIOR  WITH  FIGURES 


Canvas.    Height,  27 


inches;  width,  23  inches 


HIS  pleasing  picture  tells  the  simple  story  of  an  afternoon  call, 


X  but  well  exemplifies  the  artist's  skill  in  the  rendering  of  textures. 
Could  the  sheen  of  satin  be  more  truthfully  painted  than  is  shown  in 
the  dress  of  the  woman  who  stands  with  her  back  toward  us,  or  the 
feeling  of  velvet  than  is  seen  in  her  shoulder  cape*?  Admirable,  also, 
is  the  rendering  of  the  black  and  gray  dress  of  the  woman  seated,  and 
the  lace  mantilla  tied  under  her  chin.  Again,  how  excellent  is  the 
texture  of  the  brown  silk  suit  of  the  long-haired  young  man  with  high 
collar,  who  is  seated  at  the  side.  The  same  skill  is  manifest  in  the 
painting  of  the  red  chair  and  sofa  coverings. 


No.  198 


Gerard  Terburg 


Dutch  School  (1614-1681) 


PORTRAIT  OF  A  MAN 


Oval  panel.   Height,  3  inches ;  width,  2}^  inches 


THIS  miniature  portrait  of  a  cavalier  shows  his  handsome  face 
framed  in  a  long  brown  wig.  He  wears  a  black  coat  over  a  brown 
tunic  with  white  full  sleeves  trimmed  with  red  ribbon  bows,  and  a  red 
sash.  A  red  bow  also  fastens  his  lace  collar  below  his  chin. 


'HIS  is  one  of  the  artist's  well  known  subjects  drawn  from  Dutch 


X  low  life,  and  shows  two  peasants  drinking  and  smoking  in  an 
inn.  The  drinker  is  seated  in  the  foreground  before  a  barrel,  whose 
head  serves  him  as  a  table,  and  on  which  stands  an  earthenware 
pitcher.  He  holds  up  in  both  hands  a  large  glass  filled  with  wine, 
from  which  he  is  about  to  drink. 

Bought  of  Charles  Sedelmeyer,  Paris. 

Collection  of  Hon.  Massey  Mainwaring,  London. 

Exhibited  at  the  Royal  Academy  Exhibition  of  Old  Masters,  1889. 


No.  199 

David  Teniers  the  Younger 


Dutch  School  {i6io-i6go) 


DUTCH  PEASANTS 


Panel.    Height,  gYz  inches;  width,  yj^  inches 


1:157] 


No.  200 

Anthonie  Palamedesz  Stevaerts 

Dutch  School  {i6oi-i6j3) 
A  CONVERSATION  PIECE 

Panel.    Height,  12^  inches;  width,  ibYz  inches 

CONVERSATION"  was  a  term  applied  by  the  earlier  painters 
to  a  picture  representing  a  gathering  of  ladies  and  gentlemen  in 
a  salon  for  social  intercourse  or  music  or  recitation.  In  this  class  of 
picture,  dealing  with  the  refinement  of  social  life,  Palamedesz  was 
especially  successful.  The  present  example  shows  a  group  of  four 
men,  handsomely  dressed  in  the  mode  of  their  day,  and  two  women. 
One  of  the  men  is  reading,  probably  one  of  his  own  poems,  which  was 
the  custom  of  the  time,  while  the  others  show  various  attitudes. 

No.  201 

Jan  Steen 

Dutch  School  {i626-i6jg) 
INTERIOR  OF  A  TAVERN 

Panel,  signed.    Height,  17  inches;  width,  14  inches 

STEEN,  the  son  of  a  brewer,  knew  and  loved  the  life  of  the  cabaret, 
and  to  help  out  his  income  opened  a  tavern.  Here  he  found  many 
of  the  scenes  which  he  has  portrayed  in  his  pictures.  In  the  present 
example,  three  men  are  seen  sitting  at  a  table  in  the  foreground,  one 
of  whom  is  smoking,  while  a  woman  forms  the  fourth  member  of  the 
group.  They  are  doubtless  indulging  in  village  gossip.  In  the  back- 
ground two  men  are  seen  at  a  window. 


No.  202 


Jan  Victors 

Dutch  School  {1620-1682) 
A  BUTCHER  SHOP 

Panel.    Height,  1 5  inches ;  width,  20  inches 

A HUGE  carcass  of  an  ox  is  seen  suspended  in  front  of  a  village 
shop,  and  standing  beside  it  a  tall  bearded  man,  who,  touching 
the  carcass  with  his  right  hand,  turns  to  a  man  as  if  expatiating  on  its 
value.  The  friend  or  customer,  attired  in  a  brown  suit  with  white 
apron  and  wearing  a  small  red  cap,  listens  with  a  half  smile  on  his 
homely  face.  The  faces  of  two  women  are  seen  through  an  open  win- 
dow at  the  right,  and  a  small  boy  who  is  blowing  up  a  bladder.  A 
brown-clad  peasant  at  the  left  regards  a  long  carving-knife  which  he 
holds.  The  street  between  the  village  houses,  containing  a  tall  leafless 
tree,  stretches  away  under  a  dull  summer  sky. 


1:159] 


No.  203 

Quirin  Gerretz  van  Brekelenkamp 

Dutch  School  {1620-1668) 
GOING  TO  MARKET 

Canvas.    Height,  21  inches;  width,  i6  inches 

TWO  young  women  are  seen  in  a  domestic  interior.  The  elder 
sits  in  a  chair  at  the  right  near  a  small  table  and,  by  the  light  of  a 
window  above  her,  scans  a  paper,  while  the  younger  woman,  a  servant, 
stands  patiently  before  her  awaiting  her  commands.  The  mistress 
has  long  blonde  curls  framing  her  round  face,  and  wears  a  white  skirt 
and  a  wide  white  neckerchief  over  a  red  bodice  with  elbow  sleeves. 
The  maid  carries  a  basket  on  her  left  arm  and  wears  a  red  skirt  and  a 
blue  waist  and  apron. 


No.  204 

Frans  van  Mieris 

Dutch  School  {1635-1681) 
PORTRAIT  OF  A  MAN 

Oval  on  copper.    Height,  4  inches;  vi^idth,  3^4  inches 

THIS  miniature  portrait  shows  a  man  of  middle  age,  his  fine  face 
framed  with  long  brown  hair  falling  on  either  side  below  the 
shoulders.  He  wears  a  black  coat  which  opens  in  front  over  a  white 
shirt  trimmed  with  lace.  His  expression  is  serious  and  the  face  ably 
modelled.  Van  Mieris  was  a  friend  of  Jan  Steen  and  of  Metsu,  and 
loved  to  paint  in  little. 


No.  205 

Richard  van  Brakenburg 

Dutch  School  {1650-1702) 
THE  JOLLY  TOPER 

Panel.    Height,  15  inches;  width,  123^^  inches 

THIS  well  painted  genre  shows  a  tipsy  peasant  half  supported  on 
the  arm  of  a  chair  on  which  his  inamorata  sits.  He  extends  his 
left  arm  about  the  young  peasant  woman's  neck,  while  her  left  arm 
rests  upon  the  man's  knee.  The  man  raises  a  half-drained  glass  at 
arm's  length,  toasting  the  girl.  An  old  man  in  a  red  jacket,  half  bent 
over,  dozes  on  a  chair  behind  the  couple,  and  a  little  dog  sits  on  the 
floor  at  the  right. 


No.  206 

Michiel  van  Musscher 

Dutch  School  {i645-iyo5) 
A  LADY  IN  A  RED  DRESS 

Canvas.    Height,  19  inches;  width,  153/2  inches 

SEATED  at  the  left  of  a  round  table  covered  with  an  Oriental  rug, 
a  good-looking  woman  is  seen  reading  a  letter,  her  arms  resting 
on  a  red  cushion  on  the  table  before  her.  She  wears  a  low-necked,  red 
gown  with  elbow  sleeves,  finished  with  white  ruffles  held  by  black  rib- 
bons. Her  blonde  hair  falls  in  ringlets  about  her  ears.  A  negro  boy 
stands  at  the  farther  side  of  the  table.  A  brown  curtain  fills  the  back- 
ground. 


No.  207 


Jan  Victors 


Dutch  School  (1620-1682) 


A  FESTIVAL  ON  THE  RIVER 


Canvas.    Height,  32  inches;  width,  393^  inches 


N  a  quay  lined  with  gray  houses  a  group  of  merrymakers  are  seen 


on  a  summer  day.  At  the  left  a  boatman  holds  his  barge  to  the 
quay,  while  a  young  man  is  assisting  a  gaily  dressed  young  woman  to 
step  in.  Another  barge  with  five  occupants  floats  on  the  stream,  which 
stretches  away  to  distant  woods,  over  which  a  tall  church  spire  is  seen. 
In  the  foreground  a  man  and  woman,  seated  on  a  bench,  hold  converse, 
while  a  woman  in  blue  dress  and  black  apron  stands  smiling  at  them. 
At  the  right  a  group  of  three  watch  a  boy  who  is  removing  some  fish 
from  his  hand-net  to  a  basket.  In  the  background  a  white  horse  drinks 
from  a  trough  and  a  man  and  a  woman,  passing,  give  alms  to  a  men- 
dicant on  the  ground.  Its  truthfulness,  as  well  as  its  joyousness  of 
light  and  colour,  makes  this  an  interesting  study. 


:i62] 


No.  208 

Godfried  Schalcken 

Dutch  School  {1643-1706) 
RUSTIC  COURTING 

Panel.    Height,  14  inches;  width,  iij^  inches 

SEATED  in  a  gray-walled  room,  an  attractive  young  peasant 
woman  looks  down  as  she  folds  back  her  dress  to  expose  her  bosom 
to  the  man,  who  stands  above  her  with  his  hands  raised  above  her 
shoulders.  Both  figures  are  illumined  by  the  soft  light  of  a  tall  candle 
in  a  flat  candlestick  set  on  a  chair  at  the  left.  The  woman  wears  a  red 
dress  with  wide  full  sleeves.  The  effect  of  candle-light,  for  which 
this  artist  became  famous,  is  managed  with  rare  skill. 


No.  209 

Godfried  Schalcken 

Dutch  School  { 164S-I/O6) 
COURTING 

Panel.    Height,  14  inches;  width,  11^  inches 

AT  the  right  sits  an  attractive  young  woman,  simply  dressed,  her 
XjL  face  turned  toward  a  suitor  standing  at  her  right,  who  leans  over 
her,  trying  with  his  right  hand  to  pull  open  her  low  corsage.  Over 
her  low-necked  blue  gown  she  wears  a  white  over-dress,  trimmed  with 
pink,  which  she  holds  to  her  bosom.  The  good-looking  man  wears  a 
brown  coat  with  full  sleeves.  On  a  red-covered  table  at  the  left  are 
a  pitcher,  a  plate,  a  glass  of  wine,  and  some  pieces  of  cake. 


1:163: 


No.  210 

Jan  van  Goyen 

Dutch  School  {i5g6-i666) 
RIVER  SCENE 

Panel,  signed  with  initials  and  dated.    Height,  14)4  inches;  width,  23}^  inches 

THIS  view  along  one  of  the  Dutch  rivers  shows  a  small  village  in 
the  distance  with  a  church  spire  rising  above  the  horizon  line. 
In  the  foreground  are  several  sail-boats  and  hshing-boats  from  which 
three  men  are  seen  fishing. 

Collection  of  Countess  Mniszech. 

No.  211 

Nicolas  Maes 

Dutch  School  (1632-169S) 
PORTRAIT  OF  A  NOBLEMAN 

Canvas.    Height,  463^  inches;  width,  275^  inches 

SEEN  at  three-quarters  length,  this  handsome  young  man  looks 
directly  out  at  one,  his  eyes  deeply  expressive,  his  face  marked  by 
the  glow  of  health.  He  wears  a  brown  wig,  the  long  curls  of  which 
frame  the  face  and  fall  down  to  his  shoulders.  Over  a  brown  waist- 
coat with  a  half-opened  linen  collar  he  wears  a  voluminous  brown 
mantle,  the  folds  of  which  he  holds  to  his  breast  with  his  left  hand.  A 
heavy  cord  girdles  his  waist. 


[:i64:] 


No.  212 

Govaert  Flinck 

Dutch  School  {i6i 5-1660) 
PORTRAIT  OF  A  MAN 

Canvas.    Height,  38  inches;  width,  323^  inches 

THIS  portrait,  by  the  most  brilliant  of  Rembrandt's  many  pupils, 
shows  a  handsome  man  seated  in  a  large  arm-chair,  his  hands 
resting  on  its  arms,  while  he  looks  to  the  right.  His  ruddy  face  is 
framed  with  a  full  white  beard  and  gray  hair.  He  wears  a  black  coat 
held  by  an  elaborate  gold  clasp,  and  opening  over  a  red  waistcoat.  On 
his  head  is  a  black  cap  with  a  jewel  in  front. 


No.  213 

Abraham  Storck 

Dutch  School  {161  s-iy  10) 
A  SEAPORT 

Panel,  signed  and  dated.    Height,  15  inches;  width,  19  inches 

THE  artist  has  here  portrayed  a  seaport  with  the  shipping  drawn 
up  along  the  wharves  and  houses  rising  at  the  side.  It  is  a  pleas- 
ing composition,  showing  the  influence  of  the  Italians  of  his  day,  as 
well  as  being  rich  in  colour. 


c:i6s: 


No.  214 


Peter  Cornells  van  Slingelandt 

Dutch  School  {i640-i6gi) 
INTERIOR  OF  A  KITCHEN 

Panel.   Height,  17  inches;  width,  14  inches 

IN  this  work  by  a  pupil  of  Gerard  Douw  three  Dutch  women  are 
seen  engaged  in  their  duties  in  a  dimly  lighted  kitchen.  All  wear 
the  peasant  costume  of  full  skirts,  blouses  with  short  sleeves,  shoulder 
capes  or  wimples,  and  small  white  caps  on  the  back  of  the  head.  The 
woman  in  the  foreground  is  pumping  water,  while  her  companion 
beyond  is  bent  over  a  wash-tub  wringing  out  a  cloth.  The  kitchen 
utensils,  brass  kettles,  and  a  tankard  and  barrel  are  skilfully  intro- 
duced into  the  composition,  as  well  as  ably  painted.  Throughout  the 
picture  is  seen  the  great  attention  to  details  which  characterized  all 
this  artist's  work  and  which  rendered  his  productions  few  in  number. 

Bought  of  Charles  Sedelmeyer,  Paris. 
Collection  of  Mr.  Edwards,  Paris. 
No.  3  of  Smith's  Catalogue  Raisonne. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  191 1. 


No.  215 

Adrian  Pietersz  van  de  Venne 

Dutch  School  {i 584-1662) 
GUEUX  ET  GUEUSE  (KNAVE  AND  BEGGAR) 


Panel,  signed  and  dated  1631.    Height,  14  inches;  width,  11  inches 


'HIS  little  picture  in  grisaille  shows  a  woman  before  an  old,  half- 


X  blind  mendicant  as  she  holds  aloft  a  bowl  filled  with  flowers. 
On  her  arm  is  a  basket.  The  old  man  clutches  his  coat  tightly  about 
him,  listening  intently  to  her  words.  A  small  dog  at  the  left  sits  up  on 
his  haunches,  looking  on  at  the  scene. 

Collection  of  Van  Papelendam,  Amsterdam. 


No.  216 

Frans  Snyders 

Dutch  School  (i5/g-i65y) 
FRUITS 

Canvas.    Height,  25  inches;  width,  34/^  inches 


ON  a  table  covered  with  a  white  cloth  a  mass  of  fruit  of  great 
variety  has  been  strewn  carelessly.  Some  of  the  peaches  are 
falling  out  of  a  low  basket  on  the  right.  The  picture  is  painted  with 
great  dexterity  and  careful  attention  to  details. 

Bought  of  Charles  Sedelmeyer,  Paris. 


No.  217 


Jan  Fyt 

Dutch  School  {161 1-1661) 
FRUITS  AND  STILL-LIFE 

Canvas.    Height,  27  inches;  width,  34^  inches 

ON  a  table  covered  with  a  green  cloth  is  a  large  basket  filled  with 
fruit  of  many  varieties.  At  the  left  stand  a  blue  and  white  cup 
and  saucer,  the  cup  filled  with  red  currants;  and  in  the  foreground  a 
pheasant  rests  on  a  white  cloth  which  covers  the  edge  of  the  table. 
Both  fruit  and  game  are  painted  with  the  utmost  care  and  precision. 

Bought  of  Charles  Sedelmeyer,  Paris. 


No.  218 

Jan  van  Ravesteyn 

Dutch  School  { I 2-1657) 
PORTRAIT  OF  A  YOUNG  WOMAN 

Canvas.   Height,  24  inches;  width,  21  inches 

100KING  directly  out  of  the  canvas,  a  good-looking  young  Dutch 
^  woman  holds  up  a  long-stemmed  wine-glass  in  her  right  hand. 
She  wears  a  wide  starched  and  fluted  ruif  and  an  elaborate  cap,  set 
well  back  over  her  black  hair,  and  has  pearl  pendants  in  her  ears.  Her 
gown  is  of  black  velvet  ornamented  with  gold  braid  and  a  rosette  at 
the  waist.    A  similar  ornament  appears  in  her  side  comb. 


1:168: 


No.  219 

Bartholomeus  van  der  Heist 


Dutch  School  {161  i-i6jo) 


GYSBRECHT  HOAGLAND  VAN  MASKIRKE 


Canvas.    Height,  47  inches;  width,  383^2  inches 


HIS  presentment  shows  a  good-looking  man  of  about  forty,  seen 


X  at  three-quarters  length,  standing,  leaning  his  right  arm  on  a 
table,  the  left  akimbo.  He  wears  a  black  robe,  the  wide  sleeves  ending 
above  the  wrists  in  wide  white  ruffles.  The  robe,  open  at  the  waist, 
reveals  his  white  shirt,  while  a  white  stole  falls  over  the  upper  part 
of  the  robe.  His  fresh,  clear  face  is  framed  by  his  long,  curling  brown 
hair,  which  falls  to  his  shoulders.   He  wears  a  light  mustache. 

Bought  of  Sulley  &  Co.,  London. 


1:169: 


No.  220 


Anthonie  Palamedesz  Stevaerts 

Dutch  School  {i6oi-i6ys) 
THE  TOILET 

Panel.   Height,  25 inches;  width,  inches 

IN  a  simply  furnished  room  a  young  woman  is  seen  standing  before 
a  dressing-table  arranging  her  brown  curls.  She  is  becomingly 
dressed  in  a  pink  silk  skirt,  richly  embroidered,  and  a  long  blue  over- 
dress with  wide  elbow  sleeves  trimmed  with  lace  and  a  wide  lace  col- 
lar. At  the  end  of  the  cloth-covered  table  sits  another  young  woman, 
with  whom  she  is  talking.  She  rests  her  right  hand  on  the  table,  on 
which  lie  some  red  ribbons,  a  brush,  a  powder-box,  and  a  half-opened 
jewel-box,  from  which  hangs  a  string  of  pearls.  The  seated  figure  is 
clad  in  a  low-cut  dress  of  blue  velvet,  with  elbow  sleeves  slashed  at 
the  shoulder,  and  a  strand  of  pearls  encircles  her  neck.  A  small  brown 
and  white  King  Charles  spaniel  lies  on  the  floor  near  by. 

Collection  of  M.  Achille  Leclercq,  Paris. 
Collection  of  P.  A.  B.  Widener,  Philadelphia. 


No.  221 

Melchior  Hondekoeter 

Dutch  School  {i6j6-i6g^) 
AN  EAGLE  ATTACKING  A  POULTRY-YARD 

Canvas,  signed.    Height,  563^  inches ;  width,  70  inches 

THIS  canvas  affords  the  artist  an  opportunity  to  show  his  ability 
in  painting  the  various  members  of  the  feathered  tribe,  for  in 
painting  fowl,  game,  and  birds  of  all  kinds  he  was  unrivalled,  even 
surpassing  Weenix,  his  uncle,  with  whom  he  studied.  The  present 
example  is  one  of  great  importance. 

Bought  of  Sulley  &  Co.,  London. 

No.  222 

Jan  le  Ducq 

Dutch  School  {i6^6-i6gs) 
LE  CORPS  DE  GARDE 

Panel.    Height,  16  inches;  width,  23  inches 

SOME  soldiers  sitting  about  a  table  have  fallen  asleep,  one  of 
whom,  with  outstretched  legs,  leans  on  a  drum  facing  the  ob- 
server. Two  others,  awakened,  stand  with  drawn  swords,  ready  for 
an  attack.  At  the  left  a  woman  in  a  green  dress,  with  plumes  in  her 
hair,  holds  up  a  gold  bracelet.  Through  an  open  window  at  the  back, 
some  sentinels  are  seen  promenading  in  the  courtyard  of  the  palace. 

Collection  of  Comte  Leon  Mniszech,  Paris,  1902. 


D7a 


No.  223 

Salomon  van  Ruysdael 


Dutch  School  {161 5-16'/ 0) 


VIEW  OF  A  DUTCH  RIVER 


Panel.   Height,  14  inches;  width,  12 J/2  inches 


HE  placid  waters  of  a  river  stretch  through  the  middle  distance, 


X  on  the  near  shore  of  which  some  fishermen,  having  drawn  up  their 
boats,  are  pulling  in  their  nets.  Some  distance  away,  two  sail-boats 
are  seen,  and  on  the  farther  bank  lies  a  village  embowered  in  trees, 
with  a  church  tower  rising  in  their  midst.  The  sky  is  filled  with  heavy 
rolling  clouds. 

Collection  of  Comte  Leon  Mniszech,  Paris,  1902, 


LIFE-SIZE  mastiff  is  seen  on  guard  over  some  game  brought  in 


XjL  from  the  chase,  above  which,  in  the  upper  left  hand  of  the  pic- 
ture, a  pigeon  is  seen  flying  by.  A  wide-stretching  landscape  fills  the 
background,  making  a  picture  of  varied  interest.  Weenix  was  equally 
successful  in  handling  landscapes,  portraits,  and  still-life. 

Bought  of  Sulley  &  Co.,  London. 


No.  224 

Jan  Baptiste  Weenix 


Dutch  School  {1621-1660) 


ON  GUARD 


Canvas.    Height,  82  inches;  width,  70  inches 


[172  n 


No.  225 


David  Teniers  the  Younger 

Dutch  School  {i6io-i6go) 
A  WOMAN  PLAYING  A  PIPE 

Panel,  signed.    Height,  ioj4  inches;  width,  8j4  inches 

IN  a  simple  dress  a  village  maid  is  seen,  seated  at  a  table,  playing  on 
a  rustic  pipe.  Her  peasant  companion  holds  a  beaker  which  he  has 
just  replenished  from  a  large  stone  jug  on  the  table  before  him.  He 
wears  a  blue  smock  and  a  flat  cap  trimmed  with  fur,  and  regards  the 
girl  with  an  amused  expression.  The  figures  of  three  other  peasants 
in  the  background  are  just  discernible  in  the  dimly  lighted  room. 

Collection  of  Hon.  Massey  Mainwaring,  London. 

Exhibited  at  the  Royal  Academy  Exhibition  of  Old  Masters,  1889. 


1:173] 


No.  226 


David  Teniers  the  Younger 

Dutch  School  (i6io-i6go) 
INTERIOR  OF  A  CHEMIST'S'  LABORATORY 

Canvas,  signed.    Height,  28  inches;  width,  34^^  inches 

BEFORE  a  furnace  at  the  right  stands  the  operator  with  bellows 
in  his  hands.  In  the  back  of  the  high-ceilinged  room  are  three 
men  engaged  in  work  of  some  nature  before  another  furnace.  Above 
them  is  seen  the  head  of  a  man  looking  through  a  small  window.  From 
the  ceiling  hangs  the  dried  figure  of  an  animal.  In  the  foreground 
numerous  retorts,  crucibles,  jars,  and  books  are  spread  out  in  con- 
fusion, and  a  small  dog  lies  at  the  left  corner. 

Bought  of  Charles  Sedelmeyer,  Paris. 

Described  in  Smith's  Catalogue  Raisonne,  Part  III. 

Collection  of  Mr.  Stanley,  1824. 

Collection  of  Lord  Radstock,  1826. 

Collection  of  Lord  Northwick,  Cheltenham,  1859. 

Collection  of  Michel  Euphrussi. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1897. 

Illustrated 


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No.  227 

Abraham  Hendricksz  van  Beyeren 

Dutch  School  {i620-i6y 5) 
STILL-LIFE 

Panel.   Height,  18  inches ;  width,  inches 

THE  group  of  objects  which  the  painter  has  chosen  to  represent 
shows  some  luscious  peaches  on  a  silver  tazza,  with  a  number  of 
equally  attractive  bunches  of  grapes  which  are  lying  out  on  the  table. 
All  are  painted  with  the  utmost  care. 

Bought  of  Charles  Sedelmeyer,  Paris. 

No.  228 

Willem  Claes  Heda 

Dutch  School  {i 5g4-i6-j8) 
STILL-LIFE 

Panel,  signed  and  dated  1630.   Height,  14  inches;  width,  21  inches 

A NUMBER  of  articles  are  spread  out  on  a  table,  a  pewter  plate 
occupying  a  central  place,  on  which  is  a  watch  with  the  case 
open  and  with  its  key  attached  to  a  ribbon  alongside;  also  a  peeled 
lemon  with  a  couple  of  slices  cut  off.  At  the  right  is  a  tall  wine-glass 
half  filled  with  wine.  At  the  back  is  an  overturned  wine-glass,  and  at 
the  left  a  plate  with  some  small  fruits  and  an  ivory-handled  knife. 

Bought  of  Charles  Sedelmeyer,  Paris. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  191 1. 


[175] 


No.  229 
Gaspard  de  Grayer 

Flemish  School  {i^82-i66q) 
PORTRAIT  OF  HIMSELF 

Canvas,  dated  1622.    Height,  24  inches;  width,  20}^  inches 

THE  subject  is  seen  at  half  length,  the  body  turned  toward  the 
right,  the  face  almost  front  view.  He  wears  a  coat  of  black  silk, 
with  an  elaborate  ruff  edged  with  lace.  A  gold  chain  is  suspended 
from  his  neck.  His  brown  hair  is  brushed  back  from  his  brow  in  curl- 
ing masses,  and  a  slight  beard  and  mustache  adorn  his  face.  The  face 
is  strongly  modelled  and  the  eyes  are  keen  and  searching. 

Collection  of  Comte  Leon  Mniszech,  Paris,  1902. 

No.  230 

Unknown  Painter 

Flemish  School  {XVI  Century) 
MADONNA  AND  CHILD 

Panel.    Height,  12^^  inches;  width,  83^  inches 

THE  Child,  fully  clothed  in  a  brown  robe,  reclines  on  the  Mother's 
lap,  and  is  pulling  at  a  long  scarf  which  depends  from  her  cap. 
She  supports  him  with  her  right  arm.  The  Virgin  is  clothed  in  a  long 
green  mantle  edged  with  gold,  over  a  green  under-dress,  and  her  hair 
escapes  from  a  striped  cap.  The  figures  are  seen  against  a  background 
of  patterned  reddish  gold.  Along  the  sides  run  the  incised  words: 
"Ave  Maria  Gratia  Plena." 


No.  231 

David  Teniers  the  Younger 


Dutch  School  {i6io-i6go) 


TRIC-TRAC  PLAYERS 


Panel.   Height,  15  inches;  width,  20  inches 


FOUR  Dutch  peasants,  two  seated  and  two  standing,  are  grouped 
about  a  table  playing  "tric-trac,"  a  form  of  dominoes.  In  the 
background  another  group  of  three  gossip  over  a  jug  of  beer  on  a  table 
in  front  of  them.  The  room  is  dimly  lit  from  an  open  window  high 
on  the  left.  The  players,  clothed  in  peasant  garb  of  blue  and  brown, 
are  intent  on  their  game. 

Bought  of  Charles  Sedelmeyer,  Paris. 


No.  232 

Isaac  van  Ostade 

Dutch  School  {162 i-i64g) 
LANDSCAPE  WITH  FIGURES 

Panel.    Height,  19  inches;  width,  203^  inches 


HOUGH  less  skilful  than  his  brother  Adrian,  this  artist  made  a 


JL  definite  impression  on  Dutch  art  during  the  few  short  years  of 
his  career.  He  loved  the  rustic  life  of  Holland  and  ably  caught  the 
peasant  life  on  his  canvases,  of  which  the  present  picture  is  an  ad- 
mirable example.  In  this  landscape  he  has  placed  a  number  of  Dutch 
peasants  resting  by  the  roadside  as  they  return  from  market.  A  gray 
horse  stands  unharnessed  beside  the  empty  cart,  while  his  master  and 
friends  rest  beneath  the  tree  at  the  left. 


No.  233 

Frans  van  Mieris 

Dutch  School  {1635-1681) 
THE  CONSULTATION 

Panel.   Height,  163^  inches ;  width,  123^  inches 

IN  this  picture  we  are  shown  a  doctor  who  has  called  to  visit  one  of 
his  patients  in  a  house  of  the  better  class  in  one  of  the  cities  of 
Holland.  The  patient  is  a  good-looking  young  woman,  over  whom 
the  doctor  is  looking  wise  as  he  feels  her  pulse.  The  well  furnished 
room  gives  the  artist  the  opportunity  he  loved  for  painting  handsome 
surroundings,  which  he  has  done  with  rare  skill. 

No.  234 

Adrian  van  Ostade 

Dutch  School  {i6io-i68s) 
INTERIOR  OF  A  TAVERN 

Panel,  signed.   Height,  14  inches;  width,  12  inches 

THIS  inimitable  painter  of  Dutch  peasant  life  is  here  seen  at  his 
best,  showing  the  interior  of  a  cabaret  with  a  group  of  boors  en- 
joying the  music  which  a  fiddler  is  producing.  The  men  are  in  various 
attitudes  of  attention,  while  a  woman  in  the  background  stops  in  the 
act  of  drinking  a  glass  of  beer,  which  she  holds  in  her  hand,  to  listen  to 
the  music. 

Described  In  Smith's  Catalogue  Raisonne,  No.  76. 
Collection  of  the  Due  de  la  Valliere,  Paris,  1781. 
Collection  of  M.  de  Calonne,  1788. 


C178: 


No.  235 

Albert  Cuyp 

Dutch  School  {1620-1691) 
LANDSCAPE  WITH  CATTLE 

Panel.   Height,  20  inches;  width,  30  inches 

THIS  example  of  the  gifted  Dutch  painter  represents  him  in  the 
vein  in  which  he  is  most  admired.  While  he  was  equally  skilful 
in  handling  figures,  horses,  cattle,  or  landscapes,  his  cattle  pictures 
possess  an  interest  aside  from  the  skill  of  their  presentation,  for  they 
show  the  Dutch  country  under  a  mellow  light  that  speaks  of  peace  and 
contentment. 

Bought  of  Charles  Sedelmeyer,  Paris. 
Collection  of  M.  Sarisbrick. 

No.  236 

Unknown  Painter 

Flemish  School  {XVI  Century) 
MADONNA  AND  CHILD 

Panel.   Height,  26^  inches;  width,  20^  inches 

THE  Mother  offers  her  right  breast  to  the  Child,  who  is  seated  on 
her  lap,  held  closely  to  her  by  her  left  hand,  and  whom  she 
regards  with  a  tender  maternal  expression.  Her  brown  hair  is  un- 
covered and  she  wears  a  full  red  robe,  which  spreads  out  in  voluminous 
folds  in  the  foreground.  Around  the  Child's  waist  and  spread  over 
her  lap  is  a  white  cloth,  and  at  the  right  the  figure  of  an  angel  is  seen 
passing.  A  landscape  with  a  group  of  buildings,  minutely  painted, 
forms  the  background. 


1:179] 


No.  237 


Dirk  Hals 

Dutch  School 

A  JOYOUS  COMPANY 

Panel.   Height,  11  inches;  width,  19  inches 

A COMPANY  of  three  cavaliers  and  three  young  women  compan- 
ions have  just  finished  a  supper,  the  remains  of  which  remain 
strewn  about  the  table.  One  of  the  men,  dressed  in  a  yellow  suit  and 
with  a  gray  mantle  drawn  about  him,  turns  in  his  chair  to  speak  to  a 
page  at  the  right.  A  young  woman  in  an  enormous  ruff  sits  beside 
him.  On  the  left  a  gallant  in  a  wide-brimmed  black  hat  is  holding  the 
hands  of  his  companion,  of  whom  we  have  only  a  back  view,  her  head 
being  half  concealed  by  her  lace  ruff.  Beyond,  a  third  couple  is  seen, 
the  woman  seated  on  the  knees  of  her  lover,  listening  to  his  pleading. 

Collection  of  Comte  Leon  Mniszech,  Paris,  1902. 


» 


No.  238 


Jan  van  der  Heyden 


Dutch  School  {ib^j-ij  12) 


THE  UNIVERSITY  OF  LEYDEN 


Panel,  signed.   Height,  18^  inches;  width,  23^  inches 


HIS  important  example  of  the  painter  of  Dutch  town  views  shows 


X  a  long  group  of  buildings,  painted  with  meticulous  care,  stretch- 
ing across  the  centre  of  the  picture  and  ending  in  a  towered  structure 
at  the  right.  In  the  centre  rises  a  tree  in  full  foliage  with  several 
figures  on  the  greensward  below,  while  overhead  stretches  a  blue  sky 
with  summer  clouds.  The  composition  is  interesting  and  the  picture 
thoroughly  representative.  Van  der  Heyden  painted  exclusively 
views  of  cities,  street  scenes,  the  surroundings  of  churches,  or  palaces, 
canals  crossed  by  bridges,  quays  bordered  by  trees, — all  executed  with 
great  skill  and  finesse.  Luminous  atmosphere  bathes  his  perspectives 
and  his  figures  are  well  placed.  Everything  is  done  with  painstaking 
care  and  shows  the  perfection  of  drawing. 

Bought  of  Sir  George  Donaldson,  London. 

Collection  of  Van  Pratt,  Antwerp. 

Exhibited  at  the  Guildhall  Exhibition,  London,  1903. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  191 1. 


PAINTINGS 
OF  THE  GERMAN  SCHOOL 


No.  239 


Sigmund  Holbein 


1465-1540 


PORTRAIT  OF  A  YOUNG  WOMAN 


Panel  with  arched  top,  inscribed  "Anno  1538.   Aetatis  Suae  20. 
Height,  143/2  inches;  width,  10^  inches 


HIS  interesting  companion  portrait  shows  a  young  woman,  seen 


X  at  half  length,  standing  behind  a  table  on  which  she  rests  her 
left  hand,  while  in  her  right  she  holds  up  a  flower.  She  wears  a  black 
dress  high  in  the  neck,  with  a  ruffle  showing  above  a  high  collar.  The 
lower  part  of  her  sleeves  is  of  red  silk.  On  her  head  is  a  flaring  head- 
dress with  a  wide  front  band  which  allows  her  braided  hair  to  show  on 
each  side.  About  her  waist  is  a  chain  joined  in  front  by  a  large  clasp 
set  with  a  ruby,  and  on  her  left  hand  she  wears  a  ring  set  with  a 
similar  gem. 

Bought  of  Charles  Sedelmeyer,  Paris. 
Collection  St.  Remy,  Paris. 
Collection  of  M.  Szarvady,  Paris. 
Collection  of  Baron  E.  de  Beurnonville,  Paris. 
Collection  of  M.  Tabourier,  Paris. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1899. 


No.  240 


Sigmund  Holbein 


1465-1540 


PORTRAIT  OF  A  YOUNG  MAN 


Panel  with  arched  top,  inscribed  "Anno  1538.   Aetatis  Suae  25. 
Height,  14^  inches;  width,  10^  inches 


HE  subject  is  seen  at  half  length,  standing  behind  a  table,  his 


JL  face,  wearing  a  thoughtful  expression,  turned  toward  the  left. 
From  his  shoulders  hangs  a  black  cloak,  revealing  a  black  coat  with 
brown  sleeves.  A  small  ruff  appears  above  his  collar  and  also  about 
his  wrists.  In  his  right  hand  he  holds  a  folded  paper  and  in  his  left  a 
brown  glove.  A  black  cap  is  set  well  back  on  his  head. 

Bought  of  Charles  Sedelmeyer,  Paris. 
Collection  St.  Remy,  Paris. 
Collection  of  M.  Szarvady,  Paris. 
Collection  of  Baron  E.  de  Beurnonville,  Paris. 
Collection  of  M.  Tabourier,  Paris. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1899. 


1:186] 


No.  241 

Lucas  Cranach  the  Elder 

1472-1553 

ADORATION  OF  CHRIST  BY  SAINT  JOHN  THE  BAPTIST 

Panel,  signed  and  dated  1534.    Height,  13^/2  inches;  width,  g%  inches 

THIS  small  devotional  picture  shows  the  little  Saint  John  kneel- 
ing, his  hands  folded  in  adoration  on  the  head  of  the  Paschal 
Lamb  crouched  on  the  ground  before  him,  and  regarding  the  infant 
Jesus,  who  stands  before  him,  holding  the  cross  and  extending  his 
right  hand  in  blessing.  Saint  John  wears  a  rough  mantle  of  goatskin, 
and  the  infant  Christ  is  nude  save  for  a  cloth  of  white  linen  draped 
about  his  loins.  Behind  rises  a  dark  cliff,  and  on  the  right  is  a  green 
laurel  bush  under  a  tender  sky.  The  picture  shows  the  symbol  of  the 
winged  dragon  which  the  artist  employed  with  his  signature,  but 
more  convincing  are  the  precise  drawing  and  the  dryness  of  colour 
characteristic  of  the  early  German  school,  of  which  he  was  one  of  the 
most  popular  leaders. 


No.  242 


Unknown  Painter 

XIX  Century 


FIRST  TEMPTATION  OF  SAINT  ANTHONY 


HIS  novel  presentment  of  the  subject  shows  the  young  man,  in 


X  his  monk's  robe  relieved  by  a  white  collar  and  jabot  and  sleeve 
ends,  kneeling  before  a  table,  which  is  placed  before  long  brown  cur- 
tains. He  regards  a  miniature  model  of  a  Venus  on  a  white  cloth 
before  him.  An  old  open  tome  is  propped  up  on  the  table  behind  her. 
On  the  floor  a  dish  has  fallen  and  spilled  its  fruits.  Through  the  halo 
above  the  Saint's  head,  the  face  of  an  old  woman  looks  down  as  if 
reflected  in  a  mirror. 


No.  243 

Unknown  Painter 

XVII  Century 
MAN  IN  A  BLACK  CAP 

Panel.    Height,  11  inches;  width,  8j4  inches 


HIS  small  portrait  shows  the  expressive  features  of  a  man  wearing 


X  a  black  velvet  cap  on  his  head.  He  is  dressed  in  a  black  coat 
with  a  narrow,  fluted  white  collar  or  ruff.  Following  the  manner  of 
Holbein,  the  portrait  is  notable  for  its  fine  modelling  and  expression 
of  the  face  and  its  pleasing  colour. 


Canvas.    Height,  17  inches;  width,  13 


inches 


No.  244 

Edouard  Charlemont 

Austrian  School  {1848-  ) 
THE  ARTIST  VAN  DE  VELDE  IN  HIS  STUDIO 

Panel,  signed  and  dated  '"80."    Height,  36  inches;  width,  28  inches 

SEATED  before  his  easel  in  a  handsomely  furnished  studio,  the 
good-looking  young  Dutch  painter  is  deeply  absorbed  in  his  work 
of  painting.  He  is  dressed  in  a  suit  of  black  velvet  with  wide  lace 
collar  and  cuffs.  He  has  long  dark  hair  and  pointed  beard  and  wears 
a  black  velvet  cap.  Through  the  door  that  stands  open  behind  him 
one  sees,  in  another  room,  a  Dutch  servant-maid,  in  costume  and  cap, 
polishing  a  brass  jar,  but  regarding  the  artist  at  his  work.  The  man- 
agement of  light  and  the  painting  of  the  accessories  of  the  studio  are 
ably  done. 

Bought  of  Charles  Sedelmeyer,  Paris. 
Collection  of  M.  Faure,  Paris. 


No.  245 


Unknown  Painter 

XVIII  Century 
SUPPOSED  PORTRAIT  OF  SCHILLER 

Canvas.    Height,  17  inches;  width,  12  inches 

THIS  small  portrait  shows,  in  half  length,  an  elderly  man  with 
flowing  blond  locks,  wearing  a  brown  coat  which  is  open  in  front 
to  show  a  lace  jabot.  He  is  seated,  his  left  arm  resting  on  a  table  with 
a  red  cover.  A  black  mantle  falls  from  his  shoulders. 


No.  246 

Christopher  Amberger 

1490-1563 

PORTRAIT  OF  A  MAN 

Panel.    Height,  23  inches;  width,  I9^'2  inches 

THIS  portrait  shows  a  half-length  view  of  a  good-looking  young 
man  standing  out  of  doors,  his  left  hand  resting  on  a  stone 
parapet.  He  wears  a  black  robe  opening  over  a  soft  white  shirt,  and 
a  large,  wide-brimmed  black  cap.  He  extends  his  right  hand  with 
open  palm,  which  gesture,  with  the  half-open  lips  and  the  clerical 
dress,  leads  to  the  supposition  that  the  subject  was  a  preacher. 


c  190:1 


No.  247 


Adolphe  Schreyer 

1828-1899 


RUSSIAN  WINTER  SCENE 


Canvas,  signed  at  the  right.   Height,  18  inches;  width,  25  inches 


TEAMSTER,  seen  at  the  right,  is  endeavouring  to  gain  entrance 


JTjL  to  a  low  wooden  hut  in  order  to  obtain  shelter  from  the  bitter 
wind  which  blows  the  light  snow  in  swirls  about  him  and  his  horses. 
The  two  horses,  attached  to  a  sled,  stand  with  their  backs  to  the  wind, 
awaiting  the  result  of  their  master's  quest.  Under  the  slate-coloured 
sky,  the  scene  is  one  of  desolation.  The  picture  belongs  to  the  so- 
called  Wallachian  period  of  this  popular  modern  painter,  when  his 
art  was  far  stronger  than  was  shown  in  his  highly  coloured  and  more 
showy  Arabian  period. 

Bought  of  the  Georges  Petit  Gallery,  Paris. 


No.  248 


Bernhard  Strigel 

1461-1528 

MAXIMILIAN  I,  ARCHDUKE  OF  AUSTRIA 
Panel,  with  inscription  and  date  at  top.   Height,  12  inches;  width,  10  inches 

THIS  bust  portrait  shows  a  clean-shaven,  strong-featured  man  of 
middle  age,  seen  in  profile,  turned  toward  the  right.  About  his 
shoulders  he  wears  a  rich  ermine  cape  which  parts  in  front  to  disclose 
a  low-cut  tunic  of  cloth  of  gold.  A  band  of  gold  studded  with 
emeralds,  spaced  at  intervals,  encircles  his  neck,  from  which  depends 
the  Order  of  the  Golden  Fleece.  A  head-covering  of  brown  cloth 
under  his  red  hat  covers  the  ears  and  neck. 


No.  249 

R.  Ernst 

Contemporary  German  School 
CAMEL  WITH  WOMAN  RIDER 

Canvas,  signed  "R.  Ernst,  Paris."    Height,  29  inches;  width,  24  inches 

THROUGH  a  lonely  mountain  road  in  Algiers  moves  a  camel 
bearing  a  woman  dressed  in  Turkish  costume  and  seated  on 
Oriental  rugs,  her  feet  on  the  camel's  neck.  An  Arab  attendant  walks 
alongside,  clad  in  a  long  blue  mantle  and  a  white  burnous,  with  a  gun 
over  his  shoulder  and  a  sword  in  his  sash  in  front. 


PAINTINGS 
OF  THE  SPANISH  SCHOOL 


No.  250 


Francisco  Jose  de  Goya  y  Lucientes 

1746-1828 

PORTRAIT  OF  DON  JULIA  ASENSIO 
("EL  PESCADORET") 

Canvas,  signed.   Height,  2iJ^  inches;  width,  inches 

IN  this  delightful  presentment  of  a  young  man,  the  artist  has  given 
us,  con  amore,  a  view  of  his  fellow-painter.  Goya  had  no  pupils 
in  the  correct  sense  of  the  word,  but  Asensio  assisted  him  greatly  in  his 
work,  particularly  in  his  frescos,  and  Goya  left  at  least  two  portraits 
of  him.  The  handsome  clean-shaven  face  is  seen  above  a  wide  neck- 
cloth of  white  material,  below  which  is  his  soft  pleated  shirt,  over 
which  is  a  low-cut  white  waistcoat.  He  wears  a  pink  coat  with  wide 
lapels  and  a  high  brown  velvet  collar.  His  mass  of  brown  hair  is 
parted  in  the  middle  and  falls  across  his  brow. 

Bought  of  Sulley  &  Co.,  London. 
Collection  of  King  Louis  Philippe,  Paris. 
Collection  of  Due  de  Montpensier. 
Collection  of  Comtesse  de  Paris. 

Listed  in  Charles  Yriarte's  Catalogue  of  Paintings  by  Goya,  Paris,  1867. 
Listed  in  Hugh  Stokes'  "Francisco  Goya." 


C195] 


No.  251 


Francisco  Jose  de  Goya  y  Lucientes 

1746-1828 

MARQUESSA  TUDO 

Canvas.    Height,  56  inches;  width,  35  inches 

THE  canvas  shows  a  three-quarters  life-size  presentment  of  a 
young  Spanish  woman  who  was  a  famous  danseuse  in  her  day. 
She  wears  a  high-waisted  gown  of  white  cut  low  in  the  neck,  with 
flowered  bodice  and  shoulder  bands.  A  black  lace  neck-scarf  is 
knotted  in  front  and  falls  below  the  waist,  and  a  black  lace  mantilla 
decorated  with  roses  covers  her  hair.  She  stands  with  her  right  hand 
holding  up  her  skirt  to  reveal  one  slippered  foot,  her  left  arm  akimbo. 
Her  face  has  an  expression  of  flirtatious  archness,  and  the  entire  work 
is  marked  by  brilliant  execution. 

Painted  in  1793. 

Collection  of  Count  Giulio  Gatti,  Rome. 

This  picture  was  taken  to  Berlin  in  191 2  and  shown  to  Dr.  Bode,  Dr.  Friedlander, 
Dr.  Hausser,  and  Dr.  Van  Loga,  all  of  whom  pronounced  it  a  master  work  by 
Goya. 


[196] 


No.  252 


Alonzo  Sanchez  Coello 

1513-1590 

PHILIP  II  OF  SPAIN 

Canvas.    Height,  48)^  inches;  width,  39^  inches 

DRESSED  in  an  elaborate  court  costume  of  heavy  white  material 
embroidered  with  gold,  the  young  King  stands  looking  directly 
at  the  observer.  His  dress  is  a  long-waisted  and  belted  tunic,  above 
balloon-like  trunks,  with  a  wide  white  ruff  edged  with  lace  about  his 
neck  and  wrists.  On  the  table  at  his  side,  on  which  he  rests  his  right 
hand,  lies  his  plumed  and  jewelled  hat.  He  holds  his  gloves  in  one 
hand,  while  the  other  rests  on  his  sword-hilt.  Pendent  from  a  long 
neck-chain  is  the  Order  of  the  Golden  Fleece,  and  a  gold-embossed 
girdle  encircles  his  waist.  From  his  shoulders  hangs  his  cloak  of  dark 
velvet  bordered  with  three  rows  of  gold  braid. 

Collection  of  the  Duke  d'Ossuna. 
Collection  of  Professor  Charcot,  Paris. 


1:197:1 


No.  253 


Alonzo  Sanchez  Coello 

EMANUEL  PHILIBERT,  DUG  DE  SAVOIE 

Canvas.    Height,  43  inches;  width,  33^/2  inches 

STANDING  before  a  red  curtain,  the  young  Duke  looks  directly 
out  on  the  spectator,  his  right  hand  resting  on  a  red  cloth  covered 
table,  on  which  lie  his  armoured  gauntlets.  His  narrow,  high-bred 
Italian  face,  with  the  thin  down  on  his  upper  lip,  wears  a  serious 
expression.  A  wide,  fluted  ruff  encircles  his  neck,  standing  high  at 
the  back.  His  form  is  encased  in  a  suit  of  armour,  beautifully  pat- 
terned in  gold,  and  on  his  breast,  suspended  from  a  wide  gold  band,  is 
a  gold  medal  of  the  Annunciation.  About  his  waist  is  an  embossed 
girdle  sustaining  his  sword,  against  which  rests  his  left  hand  holding 
a  scroll. 

Illustrated 


1:198] 


No.  253 

EMANUEL  PHILIBERT,  DUG  ETE  SAVOIE 

Coello 


No.  254 


Francisco  de  Zurbaran 

iSg8-i662 


PORTRAIT  OF  A  YOUNG  PRINCE 


Canvas.    Height,  523/2  inches;  width,  38  inches 


HE  handsome  young  Prince  of  Spain  stands  at  full  length,  facing 


X  us,  his  long  dark  hair,  parted  in  the  middle,  falling  about  his 
neck.  His  face  wears  a  serious  expression  for  one  so  young.  He  holds 
his  wide-brimmed  hat  with  large  plumes  in  his  right  hand  and  grasps 
the  hilt  of  his  sword  with  the  left.  The  striking  and  splendidly 
painted  red  costume  shows  a  long  jacket,  trimmed  with  gold  braid, 
over  a  belted  doublet  with  narrow  sleeves  ending  in  lace  ruffs.  His 
knee-breeches  are  finished  at  the  bottom  with  red  ribbon  bows,  and 
red  rosettes  adorn  his  shoes.  A  wide  ruff  encircles  his  neck,  falling 
down  on  his  shoulders.  The  strongly  modelled  face  and  hands  and 
the  rendering  of  the  textures  show  the  Spanish  painter's  mastery, 
while  the  mien  and  bearing  of  the  subject  exert  a  strong  fascination. 


No.  255 


Alonzo  Sanchez  Coello 


1513-1590 


QUEEN  MARIE  OF  PORTUGAL 

Canvas.    Height,  433^  inches;  width,  34  inches 


HIS  presentment  of  the  young  Portuguese  wife  of  King  Philip  II 


X  shows  her  standing  at  three-quarters  length,  facing  the  spectator, 
her  hand  resting  on  a  chair  back.  She  wears  a  white  court  dress  with 
stiff,  pointed  stomacher,  and  pendent  from  her  neck  is  a  long  gold 
chain,  the  two  strands  fastened  at  the  centre  by  a  square  emerald  set 
in  gold.  Her  reddish  hair  is  drawn  back  from  her  brow  and  held  by  a 
jewelled  gold  band.  Her  neck  is  encircled  by  a  stiff  lace  ruff,  and  she 
holds  a  closed  fan  in  her  right  hand.  This  young  Princess  of  Portugal 
married  her  cousin,  Philip  II  of  Spain,  in  1543,  when  he  was  only 
sixteen  years  of  age.   She  died  two  years  later. 


Illustrated 


No.  255 

QUEEN  MARIE  OF  PORTUGAL 
Coello 


No.  256 


Don  Diego  Rodriguez  Velasquez  de  Silva 

POPE  INNOCENT  X 

Oval  canvas.    Height,  24  inches;  width,  20  inches 

THE  attribution  of  this  portrait  to  the  hand  of  the  Spanish  master 
himself  was  made  by  Dr.  Bode  after  examination  of  the  canvas. 
It  is  only  a  bust  portrait,  and  the  supposition  is  that  it  was  cut  out 
from  a  replica  of  the  well  known  portrait  in  the  Doria  Gallery  in 
Rome.  It  shows  the  same  expression  of  cunning,  the  ruddy  complex- 
ion and  crafty  eyes  of  the  original  portrait,  while  the  costume,  consist- 
ing of  red  soutane,  wide  collar,  and  red  cap,  is  the  same.  During  his 
second  visit  to  Rome  in  1650,  Velasquez  painted  that  miasterly  bit 
of  portraiture  in  the  Doria  Gallery,  so  marvellous  in  its  intuitive 
penetration  and  its  skill  of  execution;  and  it  is  not  at  all  improbable 
that  he  should  have  been  called  upon  to  repeat  a  work  that  attracted 
such  wide  attention  at  the  time. 

"This  Innocent  X  has  interested  me  very  much.  It  is  one  of  the  most 
beautiful  ones,  more  powerfully  painted  and  more  luminous  in  the  colour- 
ation than  even  the  picture  in  the  Hermitage,  which  is  judged  as  a  Velas- 
quez, painted  by  this  master's  own  hand." 

Extract  from  a  letter  by  Dr.  Bode. 


[201] 


No.  257 


Alonzo  Sanchez  Coello 


1513-1590 


A  SPANISH  PRINCESS 


Canvas.    Height,  49  inches;  width,  39  inches 


'HE  young  woman  is  seen  standing,  her  hand  resting  on  the  back 


X  of  a  chair.  Her  white  satin  court  dress  has  large,  flowing  over- 
sleeves and  tight  under-sleeves  ending  in  lace  ruffs  at  the  wrist.  Both 
dress  and  sleeves  are  trimmed  with  gold  braid,  and  a  row  of  gold 
buttons  extends  down  the  front  of  waist  and  skirt.  A  jewelled  chain 
pendent  from  the  right  shoulder  reaches  across  the  front  of  the  bodice, 
and  just  below  the  ruff  is  a  large  sapphire  set  in  gold.  A  lace  ruff 
encircles  her  neck,  and  her  dark  hair  is  adorned  with  a  white  plume 
caught  by  a  large  emerald  in  a  gold  setting.  She  holds  her  handker- 
chief in  her  hand. 


112023 


No.  258 

Juan  Carreno  de  Miranda 

1614-1685 

CARDINAL  DON  PASCUAL  OF  ARAGON 

Canvas.    Height,  80  inches;  width,  573^  inches 

THE  still  youthful  Bishop  of  Toledo  is  portrayed  at  full  length, 
kneeling  at  his  prie-dieu,  facing  toward  the  observer.  He  wears 
a  red  robe,  from  which  protrude  his  white  lawn  sleeves,  seen  from  the 
elbows,  and  a  narrow  white  collar  shows  at  the  neck.  His  mass  of 
brown  hair  is  uncovered  and  falls  about  his  ears.  In  his  hands  he  holds 
a  book,  the  leaves  of  which  he  is  turning.  The  book  rests  on  a  red 
cushion  trimmed  with  gold  braid  and  having  tassels  hanging  from  the 
corners. 

Collection  of  Aureliano  de  Beruete. 

No.  259 

Juan  Carreno  de  Miranda 

1614-1685 

PORTRAIT  OF  A  MAN 

Canvas.    Height,  25  inches;  width,  19^  inches 

THIS  half-length  portrait  shows  a  handsome  young  man  with  dark 
hair,  black  eyes,  and  black  mustache.  His  right  hand  is  crossed 
over  his  breast,  projecting  from  a  lace  sleeve,  which,  like  the  ruff  of 
white  linen  about  his  neck,  is  painted  with  much  dash  and  brilliancy. 

Bought  of  Laurie  &  Co.,  London,  who  acquired  it  in  Spain. 


[203] 


No.  260 


Francisco  Domingo  y  Marques 

1842- 

PORTRAIT  OF  MY  DOCTOR 

Panel,  signed.    Height,  6^^  inches;  width,  6}4  inches 

IN  this  small  picture  the  artist  shows  a  half-length  view  of  an  elderly 
man  seated,  his  right  hand  grasping  the  top  of  a  heavy  gold- topped 
cane.  It  shows  the  heavy  features  in  profile,  the  massive  head  being 
crowned  with  coarse  hair.  He  wears  a  black  coat,  above  which  appears 
a  high  white  collar,  the  whole  being  painted  with  breadth  and  rare 
skill. 

No.  261 

Jose  Benlliure  y  Gil 

Contemporary  Spanish  Painter 
GRANTING  PARDONS 

Canvas,  signed.    Height,  23^^  inches ;  width,  39  inches 

IN  front  of  a  monastery  a  number  of  men  are  assembled.  The  abbot, 
in  his  long  brown  robe,  comes  out  of  the  large  gateway,  offering 
pardon  for  their  sins.  Some  of  those  in  the  audience,  from  their  gay 
attire,  are  evidently  men  of  position.  One  tries  to  restrain  a  barking 
poodle.  The  soldiers  among  the  groups  have  stacked  their  arms,  and 
their  horses  stand  patiently  by.  It  is  a  street  scene  caught  in  some 
Spanish  provincial  town  by  the  artist,  and  shows  a  sense  of  life  and 
movement,  with  able  painting  of  details. 


C204;] 


No.  262 


Luis  Alvarez 


1841-igoi 


THE  MARRIAGE  CONTRACT 


Canvas,  signed  and  dated  "Rome,  1886."   Height,  2354  inches;  width,  16  inches 


HIS  brilliant  example  of  the  work  of  the  modern  Spanish  school 


X  inaugurated  by  Fortuny  represents  a  young  couple,  richly 
dressed,  standing  by  a  table  in  a  church  sacristy,  the  young  woman, 
with  a  quill  in  her  hand,  about  to  sign  a  paper  which  lies  on  the  table 
before  her.  A  young  priest,  seated  at  the  table,  looks  up  at  her  as  he 
points  to  the  document.  The  costumes  of  the  early  nineteenth  century 
are  becoming  and  highly  decorative.  On  a  brazier  in  the  foreground 
sits  a  well  fed  cat,  which,  like  all  the  details,  is  admirably  painted. 


[2053 


No.  263 


Raimundo  de  Madrazo 

1841- 

A  NATURALIST  IN  HIS  STUDIO 

Canvas,  signed.    Height,  22^  inches;  width,  18  inches 

SEATED  before  a  large  glass  case  containing  some  blue  butterflies 
carefully  mounted  and  arranged,  a  gray-haired  man  is  studying 
his  specimens,  comparing  them  with  illustrations  of  others  in  a  large 
book  held  in  his  hands.  He  is  in  his  shirt  sleeves,  and  wears  a  brilliant 
waistcoat,  the  back  of  blue,  the  front  of  red  embroidered  silk,  and 
knee-breeches.  Another  case  of  mounted  butterflies  stands  on  the  floor 
near  by,  and  on  the  wall  is  a  case  filled  with  books.  The  colour  and 
handling  make  it  in  every  way  a  worthy  example  of  this  brilliant 
Spanish  painter,  who  is  a  son-in-law  of  the  great  Fortuny. 

Collection  of  Senor  Mendonca. 


1:206: 


PAINTINGS 
OF  THE  ITALIAN  SCHOOL 


No.  264 


Unknown  Painter 


XV  Century 


FRONT  OF  A  CAS  SON  E 


Two  panels.    Height,  each,  13  inches;  width,  each,  24  inches 


HE  cassone^  or  marriage  chest,  which  was  given  to  each  bride  of 


X  an  Italian  family  was  often  decorated  by  an  artist  of  ability, 
hence  the  panels  which  have  been  preserved  to  us  are  often  rare  works 
of  art.  The  two  panels  here  seen  are  enclosed  in  a  carved  and  gilded 
framework,  one  showing  a  procession  of  knights  and  cavaliers  in  gay 
costumes,  some  mounted  on  horses,  gaily  caparisoned,  others  on  foot; 
the  other  showing  a  wedding  feast,  with  the  guests  sitting  about  a 
table  and  pages  passing  the  viands. 


No.  265 


School  of  Giotto 

XIV  Century 
MADONNA,  INFANT  CHRIST,  AND  SAINTS 

Panel  with  arched  top.    Height,  29  inches;  width,  183/2  inches 

THIS  picture,  in  the  manner  of  the  greatest  of  the  Italian  Primi- 
tive masters,  shows  the  Virgin  seated,  with  the  Child  sitting  on 
her  lap,  her  hands  clasped  about  him.  He  raises  his  right  hand  in 
blessing,  and  in  his  left  holds  a  dove  by  the  tail  feathers.  A  bearded 
saint  in  a  brown  robe  stands  at  the  right,  holding  a  book  in  his  hand, 
while  with  his  finger  he  points  to  the  symbol  of  a  bleeding  heart  on  his 
breast.  A  female  saint  dressed  in  a  red  robe  stands  at  the  other  side 
of  the  Virgin's  chair,  while  above  are  seen  the  heads  of  four  others,  two 
on  each  side.  Halos  of  incised  gold  surround  the  heads  of  all  the 
figures  in  the  composition.  The  Virgin's  blue  mantle  is  worn  over  a 
red  dress,  and  her  head  is  covered  by  a  veil  which  falls  on  her  shoul- 
ders, crossing  the  upper  part  of  her  bodice.  The  background  is  of 
gold,  a  custom  which  arose  from  the  use  of  gold  in  miniature  painting 
on  missals. 

Illustrated 


II2103 


No.  265 

MADONNA,  INFANT  CHRIST,  AND  SAINTS 
School  of  Giotto 


No.  266 


Girolamo  da  Siciolante 


1504-^550 


FRANCESCO  COLONNA  II 


Canvas.    Height,  50  inches;  width,  37  inches 


'HE  artist  has  here  portrayed  a  member  of  the  Colonna  family  of 


X  Rome,  who  is  seen  at  three-quarters  length,  standing.  He  wears 
a  suit  of  armour,  and  a  helmet  and  spear  are  seen  at  his  side.  Above 
appear  the  inscription  and  date,  as  follows:  "Franciscus  11.  Stephani 
F.  Columna  An.  XXVI-M-D-LXI.  Hieronimus  Sermoneta,  Nus.  F. 
An.  Dno.  1576.   Etatis  sua  17." 

Bought  of  Charles  Sedelmeyer,  Paris. 
Collection  of  M.  A.  MouUe,  Paris. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1905. 


No.  267 

Filippo  Lippi,  called  Filippino 


1457-1504 


VIRGIN  AND  CHILD  WITH  SAINTS 


Tondo.    Diameter,  24J/2  inches 


HIS  is  an  appealing  rendering  of  the  familiar  subject  and  shows 


X  the  Mother  seated,  clad  in  the  prescribed  blue  mantle  with  long 
hood,  over  a  red  under-dress  with  low  bodice  cut  square  in  the  neck. 
Her  hair  falls  loosely  down  on  either  side  of  her  head,  which  is  cov- 
ered with  a  filmy  scarf.  Her  eyes  are  cast  down  at  the  nude  Child  in 
her  arms,  who,  turning  to  the  right,  stretches  out  his  arm  to  touch  the 
cross  which  the  little  Saint  John  holds  up  to  him.  Two  young  angels 
are  seen  at  half  length,  on  either  side,  in  attitude  of  adoration.  A 
wide-stretching  landscape  of  northern  Italy  forms  the  background. 

Bought  of  P.  &  D.  Colnaghi,  London. 


[212] 


No.  268 


Luca  Spinelli,  called  Spinello  Aretino 

1332-1410 

MADONNA  AND  CHILD 

Panel.    Height,  9^/2  inches;  width,  7  inches 

THIS  little  devotional  picture  shows  the  Virgin  with  a  gold  halo, 
seated,  and  with  her  right  arm  holding  the  Child  closely  to  her. 
She  wears  a  blue  robe  with  a  gold  band  at  the  neck,  over  a  fluted  pink 
dress.  The  Child,  nude  save  for  a  pink  cloth  about  his  loins,  extends 
his  left  arm  about  the  Mother's  neck.  On  her  head  is  a  blue  cloth 
over  a  close-fitting  lace  cap. 


No.  269 

Francesco  Guardi 

1712-1793 

PIAZZETTA  OF  SAN  MARCO 

Canvas.    Height,  123^  inches;  width,  16^  inches 

THIS  is  one  of  the  views  of  the  fascinating  city  which  Guardi  pro- 
duced in  never  ending  variety,  with  the  columns  and  campaniles, 
the  buildings  and  figures  which  he  knew  so  well  and  set  forth  with 
such  admirable  skill. 

Bought  of  Charles  Sedelmeyer,  Paris. 
Collection  of  Mr.  F.  Fitzgerald. 


C213] 


No.  270 


Domenico  Ghirlandajo 

1449-1494 

MADONNA  AND  CHILD 

Panel  with  round  top.    Height,  273^^  inches;  width,  16^  inches 

SEEN  at  half  length,  the  Virgin  stands  behind  a  low  parapet  which 
is  covered  by  a  rich  Oriental  rug.  The  Child  stands  on  the 
parapet,  held  by  the  Mother's  right  arm,  as  she  looks  pensively  down 
at  something  below.  The  Child,  nude  save  for  a  strip  of  gauze  about 
his  loins,  also  intently  regards  the  unseen  object  below.  He  wears  a 
strand  of  red  coral  beads  about  his  neck,  with  a  spray  of  red  coral 
pendent  on  his  breast,  and  red  coral  bracelets  about  each  chubby  wrist. 
Red  is  also  seen  in  the  halo  which  crowns  his  brown  locks.  The  Virgin 
wears  the  conventional  deep  blue  mantle  bordered  with  gold  and  hav- 
ing a  star  in  gold  on  the  left  shoulder.  Her  under-dress  is  of  red,  cut 
low  in  the  neck,  with  a  large  jewelled  ornament  just  below  the  top  of 
the  bodice.  A  light  cap  with  veil  falling  at  the  back  rests  on  her  blonde 
hair,  above  which  floats  a  filmy  halo.  A  landscape  with  a  lake  and  one 
of  the  charming  Italian  hill  towns  forms  the  background. 

Illustrated 


II214;] 


No.  270 
MADONNA  AND  CHILD 
Ghirlandajo 


No.  271 

Jacopo  Robusti,  called  Tintoretto 

1512-1594 

MADONNA  AND  CHILD 

Canvas.    Height,  27^  inches;  width,  18^  inches 

IN  this  work  of  exceptional  beauty,  the  Virgin  is  seen  at  three- 
quarters  length,  seated,  her  head  turned  slightly  toward  the  left. 
The  Child,  nude,  stands  on  her  lap,  and  is  clasped  by  her  left  arm,  his 
right  arm  across  her  shoulder.  With  his  right  hand  he  picks  some 
flowers  from  a  basket  on  which  he  gazes  intently.  The  Mother's  robe, 
of  deep  rose  colour,  is  slightly  open  at  the  neck  and  confined  by  a 
girdle  at  the  waist.  Her  deep  blue  mantle  is  thrown  back  from  her 
shoulders.  On  her  head,  which  is  bent  forward  in  meditation,  above 
her  dark  hair,  a  light  scarf  is  twisted  and  falls  down  at  the  back.  A 
colourful  sky  with  heavy  clouds,  against  which  rises  a  dark  cliff  with 
an  overhanging  spray  of  brown  leaves,  forms  the  background.  The 
composition  is  broadly  and  strongly  painted,  and  the  colour  glowing 
and  unusually  rich.  Altogether  it  is  a  work  of  exceptional  beauty. 


[215] 


No.  272 


Unknown  Painter 

XVI  Century 
HOLY  FAMILY  AND  SAINTS 

Panel.    Height,  12%  inches;  width,  9%  inches 

THIS  graceful  composition  shows  the  Virgin  seated  at  the  right, 
holding  in  her  arms  the  infant  Christ,  who  is  wrapped  in  a  white 
cloth.  He  lovingly  touches  her  neck  with  his  left  hand  and  points 
down  with  his  right  to  two  other  children,  presumably  Saint  John  and 
Saint  Luke,  whose  little  bodies  are  half  concealed  by  a  red  cushion  on 
the  ground.  They  hold  a  scroll  to  which  one  of  them  points.  Saint 
Joseph,  supporting  his  head  with  his  right  hand,  leans  over  a  pedestal 
above  them,  gazing  at  the  Virgin  and  Child.  The  blues  and  reds  of 
the  Virgin's  robes  and  of  Saint  Joseph's  attire  are  harmonious  and 
beautiful. 


[2163 


No.  273 


Francesco  dei  Rossi,  called  II  Salviati 


1510-1563 


A  BOY  IN  WHITE 


Canvas.   Height,  63  inches;  width,  34  inches 


HIS  canvas  shows  a  full-length  portrait  of  a  noble  youth  dressed 


X  in  white,  standing  by  a  table  on  which  is  a  statuette  of  the 
Winged  Victory.  His  left  hand  rests  on  his  hip,  and  in  his  right  he 
holds  a  gold  medallion  inscribed  "ivre  meo,"  attached  to  a  gold  chain. 
From  the  belt  about  his  waist  is  hung  a  purse,  and  he  wears  a  dagger 
at  his  left  side.  Back  of  him  is  a  chair  with  seat  and  back  of  red  velvet. 
A  pendent  to  this  picture  is  the  "Boy  in  Red"  in  the  National  Gallery, 
which  was  formerly  ascribed  to  Bronzino. 

Bought  of  Sulley  &  Co.,  London,  on  endorsement  of  Mr.  Berenson. 


1:217] 


No.  274 


Sebastiano  Mainardi 

1482-1515 

MADONNA  AND  CHILD 

Tondo.   Diameter,  32^^  inches 

THIS  circular  composition  by  the  friend  and  pupil  of  Ghirlandajo 
shows  the  Mother  standing  in  front  of  a  dark  wainscoting,  above 
which  on  either  side  one  sees  views  of  the  Italian  hill  country.  Lov- 
ingly she  holds  the  Child  on  her  right  arm,  his  feet  resting  on  her  left 
hand  as  she  draws  him  close  to  her.  His  head,  ringed  by  a  halo  of  red 
and  gold,  nestles  against  her  right  shoulder,  and  with  his  right  hand 
he  gathers  her  scarf.  Her  tunic,  worn  over  an  under-dress  of  red,  is 
low  in  the  neck  and  bordered  with  a  narrow  gold-patterned  band. 
Her  brown  hair  is  covered  with  a  thin  white  veil  which  falls  in  puffs 
at  the  back,  and  is  surmounted  by  a  halo  edged  with  gold.  The  Child 
is  entirely  nude.  Directly  back  of  the  Mother  rises  a  section  of  wall 
between  the  windows.  The  picture  is  filled  with  a  deep  devotional 
feeling  and  a  serene  peacefulness. 

Collection  of  Marquis  Panciatichi. 
Collection  of  Suzzifanti-Forteguerri,  Pistoia. 

Illustrated 


1:218] 


No.  274 
MADONNA  AND  CHILD 
Mainardi 


No.  275 


Unknown  Painter 

XV  Century 
MADONNA  AND  CHILD 

Canvas.    Height,  283^  inches;  width,  21^  inches 

STANDING  behind  a  low  parapet,  the  Virgin  with  her  right  arm 
supports  against  her  side  the  Child,  who  stands  erect  on  the 
parapet.  She  looks  tenderly  down  upon  the  Infant,  who  holds  in  his 
left  hand  a  long  white  scarf,  which,  falling  from  her  neck,  passes 
through  her  left  hand.  The  Child  raises  his  right  hand  with  fore- 
fingers extended  in  an  attitude  of  blessing.  His  blond  curly  hair  is 
crowned  by  a  conventionalized  halo  of  gold.  The  Virgin  wears  a  deep 
blue  mantle  bordered  at  neck  and  front  with  a  wide,  gold-patterned 
band,  and  on  her  head,  above  her  golden  hair,  is  a  cap  with  streamers 
falling  down  at  the  back.  Above  this  a  halo  encircles  her  head.  Her 
robe  is  held  by  a  large  jewelled  clasp  at  the  neck,  but  reveals  her  dress 
of  deep  red,  across  which  is  a  girdle  patterned  in  bars.  A  landscape 
in  which  appear  buildings  and  distant  towers  under  a  luminous  sky 
forms  the  background. 


1:219:] 


No.  276 

Bernardino  Luini 

1475-1533 

MODESTY  AND  VANITY 

Panel.   Height,  255^  inches;  width,  323/2  inches 

THIS  is  one  of  the  few  productions  of  this  gifted  artist  which 
depart  from  a  strictly  religious  subject,  and  well  exemplifies 
his  refined  colour  and  power  of  expression.  Two  attractive  young 
women,  typifying  Modesty  and  Vanity,  are  portrayed  at  half  length, 
seated  behind  a  table.  Modesty,  at  the  left,  the  older  of  the  two,  wears 
a  gown  of  violet  stuff,  the  sleeves  rolled  back  at  the  elbows  over  brown 
under-sleeves  covering  the  wrists.  Her  serious  face  is  framed  in  a  long 
scarf  of  yellow  cloth  over  her  black  hair,  which  falls  low  upon  her 
shoulders.  Her  face  is  seen  in  profile.  With  uplifted  right  hand,  she 
is  evidently  arguing  with  her  companion.  Vanity  is  seen  in  full  face, 
smiling,  her  right  hand  raised  and  her  left  holding  a  small  vase  on  the 
table  before  her.  She  wears  a  green  mantle  which  falls  from  her  shoul- 
ders, showing  a  low,  square-cut  bodice  having  long  sleeves  with  ruch- 
ing  at  the  wrists.  A  red  scarf  is  draped  over  one  arm.  A  curious  orna- 
ment, consisting  of  a  sapphire  set  in  gold,  is  attached  by  a  ribbon  on 
each  side  of  the  bodice.  Her  hair  hangs  in  ringlets  to  her  shoulders, 
and  is  surmounted  by  a  low  cap  adorned  with  a  plume  fastened  by  a 
pearl.   On  the  table  lies  a  long  necklace. 

Illustrated 


[220;] 


H 

< 
> 

o  Q 

6  < 

H 

m 

Q 

O 


No.  277 

Raffaellino  da  Colle 

1 490-1 530 

MADONNA  AND  CHILD 

Panel.   Height,  183^  inches;  width,  15  inches 

THE  Mother,  a  beautiful  young  Italian  woman  of  the  blonde  type, 
stands  behind  a  table,  holding  the  infant  Jesus  with  her  left  arm. 
The  Child  stands  on  the  top  of  the  table,  leaning  slightly  to  the  right, 
and  holds  in  his  left  hand  the  end  of  her  mantle,  which  she  has  draped 
loosely  about  him.  His  right  arm,  under  the  mantle,  encircles  the 
Mother's  neck.  The  Virgin  is  clothed  in  a  red  dress,  cut  low  in  the 
neck,  and  a  deep  blue  mantle  which  falls  from  her  shoulders  but  is 
held  to  her  bosom  by  her  left  hand.  Her  youthful  face  is  crowned  by 
a  wealth  of  brown  hair,  above  which  floats  a  halo.  A  range  of  conical 
blue  hills,  one  of  them  topped  by  a  castle  with  a  square  tower,  under 
a  sky  streaked  with  bands  of  golden  light,  forms  the  background. 


No.  278 


Angiolo  AUori,  called  Bronzino 

7502-/572 

PORTRAIT  OF  THE  SON  OF  BERTINAZZI 

Panel.    Height,  x'jYi  inches;  width,  133^  inches 

THIS  bust  portrait  shows  a  handsome  boy  whose  direct  and  fear- 
less gaze  irresistibly  attracts  the  beholder.  About  his  neck  is  a 
soft  white  ruff,  which  falls  over  a  simple  coat  of  black  velvet.  On  his 
head  is  a  large  black  cap  tilted  back  from  his  forehead,  showing  his 
dark  hair.  His  evanescent  gaiety  and  sensuous  charm  evoke  a  wonder 
as  to  his  future. 


No.  279 

Unknown  Painter 

XVI  Century 
HEAD  OF  A  YOUNG  MAN 

Panel.    Height,  iij/2  inches;  width,  8^  inches 

THIS  portrait  of  the  early  Florentine  school  of  painting  shows  the 
handsome,  clean-shaven  face  of  a  young  man,  turned  toward  the 
left.  His  abundant  dark  hair  falls  to  his  shoulders  and  is  crowned  by 
a  red  cap.  He  wears  a  black  coat  which  shows  the  upper  part  of  his 
under-vest.  A  blue  landscape  under  a  pearly  sky  fills  the  background. 


C222] 


No.  280 


Angiolo  Allori,  called  Bronzino 


1502-1572 


PORTRAIT  OF  A  YOUNG  MAN 


Panel.    Height,  8^2  inches;  width,  6  inches 


THIS  portrait  shows  the  bust  of  a  young  man  wearing  a  black 
doublet,  above  which  is  a  white  embroidered  collar.   At  the  left 
is  seen  an  inkstand  with  some  paper  bearing  the  date  1560. 

Collection  of  M.  Konigswarter,  Vienna,  1906. 


HE  Virgin  and  Child  are  seen  under  a  canopy,  with  a  latticed 


X  window  at  the  right  and  an  open  window  at  the  left,  through 
which  one  sees  a  summer  landscape.  A  wheel-like  halo  floats  above 
the  heads  of  both  Mother  and  Child.  In  front  is  a  table,  on  which  rests 
some  fruit,  and  on  the  window-sill  at  the  left  is  seen  a  glass  containing 
some  wine. 


No.  281 


Early  Italian  School 

XV  Century 


MADONNA  AND  CHILD 


Panel.   Height,  24^  inches;  width,  19  inches 


[223] 


No.  282 


Angiolo  Allori,  called  Bronzino 

IS02-IS72 

PORTRAIT  OF  A  YOUNG  MAN 

Panel.    Height,  37J/2  inches;  width,  29  inches 

THE  subject  of  this  portrait  is  a  young  man,  seen  at  half  length, 
with  a  slight  mustache,  and  seated  in  a  green  velvet  chair.  He 
wears  a  red  doublet  embroidered  with  gold,  and  in  his  right  hand  he 
holds  a  cameo  of  a  woman's  head.  His  left  hand  rests  on  a  green- 
covered  book  with  red  edges,  which  lies  on  the  table  beside  him. 

Bought  of  Sulley  &  Co.,  London. 


No.  283 

Jacopo  Robusti,  Tintoretto 

1512-1594- 

THE  ANNUNCIATION 

Canvas.    Height,  20  inches;  width,  283/2  inches 

ON  a  terrace  overlooking  a  garden  the  Virgin  is  seen  at  the  right, 
kneeling  at  her  devotions.  On  the  left  the  angel  appears,  and 
the  Virgin,  startled  by  the  apparition,  turns  and  is  about  to  rise  to 
meet  him.  At  the  back  are  two  arches  and  a  trellis. 


[224^ 


No.  284 


Jacopo  Palma,  called  II  Vecchio 

1 480-1 528 

SALVATOR  MUNDI 

Panel.   Height,         inches;  width,  I3j4  inches 

THIS  conception  of  the  Saviour  by  the  elder  Palma  shows  him,  at 
nearly  half  length,  against  a  wide  hanging  with  a  patterned 
gold  border  having  a  narrow  strip  of  blue  on  either  side.  His  smoothly 
brushed  hair  is  parted  in  the  middle  and  falls  to  his  shoulders,  and  he 
wears  a  short  brown  beard  and  slight  mustache.  He  holds  up  his  right 
hand  in  an  attitude  of  blessing,  while  his  left  rests  on  a  blue  globe. 
He  wears  a  blue  mantle  which  is  thrown  back  on  the  right  to  show  the 
white  under-lining.  His  under-robe  is  pink,  cut  low,  with  a  wide  gold- 
patterned  band  across  the  top.  Three  points  of  his  halo  are  seen  at  the 
sides  and  above  the  forehead.  The  expression  of  the  face  is  one  of 
divine  benignity. 

Bought  of  Charles  Sedelmeyer,  Paris. 

Illustrated  in  Sedelmeyer's  Catalogue  of  Old  Masters,  1901. 
From  the  Pinacoteca  Borromeo  Monti,  Milan,  1830. 
Collection  of  Colonel  Hankey,  Beaulieu,  Hastings. 


1:225: 


No.  285 

Antonio  Canale,  called  Canaletto 

VENICE 

Canvas.    Height,  31  inches;  width,  473/2  inches 

IN  this  impressive  work  the  artist  has  depicted  the  Venice  of  the 
eighteenth  century.  The  canvas  was  probably  painted  about  1730 
and  presumably  from  a  gondola,  and  he  gives  so  truthful  a  rendition 
of  the  scene  that  he  may  be  called  the  historian  of  the  Venice  of  his 
time.  Travellers  who  are  familiar  with  Venice  will  recognize  the 
truth  of  the  scene,  for  the  buildings  and  churches,  the  gondolas  in  the 
foreground  and  the  group  at  the  church  door,  and  even  the  gondoliers 
themselves,  are  much  the  same  as  those  of  to-day.  The  charm  of  this 
canvas  lies  in  its  sense  of  joyous  life,  its  cool  colour,  and  the  play  of 
light  on  the  palaces,  domes,  and  towers.  The  point  from  which  the 
scene  is  taken  is  near  the  entrance  to  the  Grand  Canal,  showing  the 
Dogana  with  its  group  of  boats  and  figures  on  the  left. 

Bought  of  Thomas  Agnew  &  Sons,  London. 
Collection  of  Lady  Northcote. 

Illustrated 


[2263 


00 

d 


I— I 


rt 


No.  286 


Pietro  Longhi 


I-/02-I'j62 


A  DRAWING-ROOM  ASSEMBLY 


Canvas.    Height,  28  inches ;  width,  36^  inches 


HIS  very  interesting  example  of  Italian  "conversazioni"  serves 


X  to  illustrate  Venetian  life  and  manners.  In  a  lofty  room,  di- 
vided by  tall  columns,  eighteen  men  and  women,  handsomely  cos- 
tumed, are  somewhat  formally  grouped,  engaged  in  conversation, 
cards,  or  reading.  All  stop  in  their  pursuits  to  look  up,  as  though 
arrested  instantaneously.  The  women  wear  evening  gowns;  the  men, 
short  clothes  and  perruques.  Through  the  windows  at  the  back, 
above  the  balustrade  of  the  portico,  one  catches  a  glimpse  of  the  trees 
in  some  distant  garden.  Altogether  it  forms  a  valuable  record  of  old 
Venetian  days. 

Bought  of  Charles  Sedelmeyer,  Paris. 
Collection  of  Sir  Charles  Eastlake,  London. 


C2273 


No.  287 


Francesco  Guardi 


1712-1793 


VENICE 


Panel,  signed  above  the  doorway  at  left.    Height,  24^^  inches;  width,  31 


inches 


HIS  portrayal  of  his  beloved  city  shows  Guardi  in  a  most  sympa- 


X  thetic  mood;  and  while  truthful,  even  literal,  as  his  renderings 
generally  are,  it  nevertheless  suggests  an  atmosphere  of  poetry  insepa- 
rable from  the  historic  city.  Across  the  foreground  move  the  market- 
boats  and  the  black-hooded  gondolas  with  mysterious  figures.  Above 
and  beyond  rise  the  palaces  and  a  walled-in  convent  with  its  tall  cam- 
panile against  the  blue  sky.  Painting  with  a  freer  brush  than  his  mas- 
ter Canaletto,  and  with  more  agreeable  colour,  Guardi  renders  Vene- 
tian life  and  architecture  with  more  facility. 


n228] 


No.  288 


Francesco  Vinea 

1846- 

SCENE  IN  A  CABARET 
Canvas,  signed.    Height,  19  inches;  width,  24^  inches 

THE  scene  shows  a  group  of  cavaliers  assembled  in  a  cabaret 
where  they  are  waiting  for  refreshment.  In  the  foreground 
stands  a  youth  in  yellow  hip-boots,  a  buff  jerkin  with  blue  silk  sleeves 
and  sash,  and  a  wide  lace  collar.  His  long  hair  is  topped  by  a  gray 
felt  hat  the  brim  of  which  is  upturned  by  a  red  rose.  Behind  him  is 
seated  a  stout  man  clad  in  a  dark  suit  with  wide  pink  sash,  lace  collar, 
and  big  hat.  They  are  intently  regarding  a  young  servant-maid 
seated  at  the  right  with  a  jug  before  a  cask  and  smiling  at  the  youths 
about  her.  An  old  man  bends  over  her,  and  a  gaily  attired  youth, 
seated  on  a  jar,  plays  a  mandolin  in  her  honour. 


[1229] 


No.  289 


G.  Mancini 


Contemporary  Italian  School 


THE  STUDENT 


Canvas,  signed  and  dated  1892.    Height,  23  inches;  width,  15  inches 


HE  young  subject  is  portrayed  of  life-size  and  at  half  length,  his 


X  face,  seen  in  profile,  looking  to  the  right.  He  holds  in  his  right 
hand  a  book  with  a  white  cover,  while  from  a  strap  over  his  shoulder 
hang  a  number  of  books.  He  wears  a  brown  coat  above  which  is  a 
large  soft  white  collar.  His  head  is  crowned  with  a  mass  of  rumpled 
brown  hair  and  his  face  wears  a  serious  expression.  Technically  this  is 
a  very  happy  example  of  the  young  Italian  painter  who  was  formerly 
a  protege  of  Sargent. 

Bought  of  the  artist. 


[230^ 


No.  290 


A.  Tamburini 

Contemporary  Italian  Painter 
MONK  KNITTING 

Canvas,  signed.   Height,  12  inches;  width,  9^/2  inches 

SITTING  in  a  high-backed  chair  at  a  table,  a  monk,  in  his  long 
brown  robe,  is  seen  knitting  a  white  stocking.  A  rosary  hangs 
from  his  waist.  He  is  intent  upon  his  work,  and  his  pose  and  expres- 
sion are  natural. 


C23O 


I 


BIOGRAPHY 


BIOGRAPHY 


ALVAREZ,  Don  Luis  Modem  Spanish  School 

Born  in  Spain,  1841 ;  died  1901.  He  studied  under  Raimundo  de  Madrazo.  In  1857  he 
went  to  Rome  and,  returning  home  later,  became  Director  of  the  Museum  of  the  Prado, 
Madrid.  He  obtained  medals  at  Madrid  in  1862  and  1864,  and  at  Munich,  Berlin  and 
Paris  in  1890.   Many  of  his  works  are  in  private  collections  in  America. 

No.  262 

AMBERGER,  Christopher  German  School 

Born  in  Amberg  or  Nuremberg  about  1490;  died  in  Augsburg  in  1563.  Portrait  painter. 
He  was  perhaps  the  pupil  of  Hans  Burgkmair,  and  one  of  the  best  German  masters  of  the 
sixteenth  century. 

No.  246 

BENLLIURE,  Jose  y  Gil  Spanish  School 

This  modern  Spanish  artist  was  born  at  Canamelas  in  1855.  He  went  to  Rome,  where  he 
became  the  pupil  of  Francisco  Domingo.  He  has  received  many  honours  in  his  native 
country,  and  has  also  exhibited  his  work  in  Paris,  London  and  other  capitals. 

No.  261 

BONINGTON,  Richard  Parkes  English  School 

Born  at  Arnold,  a  village  near  Nottingham,  1801 ;  died  at  London  in  1828.  His  grand- 
father, and  afterward  his  father,  was  governor  of  the  jail  of  Northampton,  but  after  a 
stay  in  Calais  the  father  set  up  as  a  portrait  painter  in  Paris.  At  the  age  of  fifteen  the 
son  was  a  student  at  the  Louvre  under  Baron  Gros.  In  1822  he  went  to  Italy.  Returning 
to  Paris,  Bonington's  genius  displayed  itself  in  landscape  painting  and  he  rapidly  rose  to 
eminence.  He  became  a  victim  of  pulmonary  consumption,  from  which  he  died,  in  his 
twenty-seventh  year,  cutting  short  a  brilliant  career. 

Nos.  25,  61 

BOTH,  Jan  (called  The  Italian)  Dutch  School 

Born  at  Utrecht  about  1 610,  he  died  there  in  1652.  With  his  brother  Andreas,  he  learned 
the  elements  of  painting  from  their  father,  a  glass  painter,  and  were  apprenticed  by  him  to 
Abraham  Bloemaert.  The  brothers  travelled  in  France  and  Italy.  At  Rome,  Jan  imitated 
the  style  of  Claude  Lorrain  and  painted  some  excellent  landscapes.  After  his  brother  was 
accidentally  drowned  at  Venice  in  1650,  Jan  Both  returned  to  Utrecht  and  died  there 
of  grief. 

No.  171 

[2353 


BOUCHER,  Franqois  French  School 

Born  in  Paris,  in  1703,  he  died  there  in  1770.  Mostly  self-taught,  he  obtained  the  first 
prize  at  the  Academy  in  1723  ;  he  visited  Rome  with  Vanloo  and  returned  to  Paris  in  1731  ; 
was  received  in  the  Academy  in  1734,  becoming  a  professor  three  years  later.  He  was 
made  Director  in  1765,  and  appointed  First  Painter  to  the  King  after  Carle  Vanloo's  death. 
Boucher  painted  mythological,  pastoral  and  decorative  subjects.  Among  his  most  famous 
works,  owned  in  America,  are  the  "Four  Seasons,"  which  represent  his  talent  under  various 
aspects,  and  are  of  his  best  period. 

Nos.  91,  92,  93,  94 

BRAKENBURG,  Richard  van  Dutch  School 

Born  at  Haarlem  in  1650,  he  died  there  in  1702.  He  was  a  pupil  of  Mommers  and  of 
Adrian  van  Ostade.  His  pictures  present  scenes  of  convivial  life  in  the  manner  of  Jan 
Steen,  but  are  rarely  met  with.  Having  painted  the  life  of  the  cabarets,  he  gave  himself 
up  to  drink  and  died  of  its  effects. 

No.  205 

BREKELENKAMP,  Quirin  Gerretz  van  Dutch  School 

Born  in  1620  at  Zwammerdam,  near  Leyden,  he  died  at  Lej'den  1668.  This  genre  painter 
was  probably  a  pupil  of  Gerard  Douw.  He  became  master  of  the  guild  at  Leyden  in  1648. 
There,  in  the  birthplace  of  Rembrandt,  he  worked  contemporaneously  with  Metsu,  Frans 
Mieris,  and  Jan  Steen.  He  painted  solid,  strong  and  naive  figures,  generally  selected  from 
humble  town  life,  in  warm  and  harmonious  but  subdued  colours. 

Nos.  190,  203 

BRONZING,  Angiolo  Allori  Italian  School 

Born  in  1502  at  Monticelli,  near  Florence,  he  died  at  Florence  in  1572.  Acquiring  the 
rudiments  of  his  art  from  an  obscure  painter,  he  then  studied  with  Raffaellino  del  Garbo 
and,  subsequently,  with  Jacopo  da  Pontormo,  whom  he  assisted ;  he  was  a  great  admirer  of 
Michelangelo,  by  whom  he  was  much  influenced.  He  was  both  poet  and  painter,  and 
became  a  member  of  the  Florentine  Academy.  He  was  most  esteemed  as  a  portrait  painter, 
in  which  capacity  he  was  employed  by  the  Grand  Duke  Cosmo  I.  Many  of  Bronzino's 
portraits  of  the  Medici  family  are  preserved  in  the  Uffizi  and  other  galleries  at  Florence. 

Nos.  278,  280,  282 

BRUYN,  Bartholomeus  de  German  School 

Born  in  Cologne  in  1493,  this  artist  passed  most  of  his  life  and  died  there  between  1553 
and  1557.  He  had  two  sons,  both  o-f  whom  became  painters.  His  work  shows  that  he  was 
influenced  by  the  Dutch  painters.  He  painted  numerous  portraits,  and  also  received  an 
order  for  an  altar  picture  for  the  church  of  St.  Victor,  which  occupied  him  for  several  years. 

Nos.  188,  189 

CANALETTO,  Antonio  Venetian  School 

Antonio  Canale  (commonly  called  "Canaletto")  was  born  at  Venice  in  1697;  he  died  in 
1768.  He  was  the  pupil  of  his  father,  Bernardo  Canale,  who  was  a  scene  painter,  and 
Antonio  practised  this  kind  of  painting  for  several  j'ears.    While  still  young  he  gave  it  up 


1:2363 


and  went  to  Rome,  where  he  devoted  himself  to  architectural  views  and  ancient  ruins.  He 
was  accompanied  by  his  nephew  and  pupil,  Bernardo  Bellotto,  who  originally  was  called 
"II  Canaletto,"  but  which  title  was  later  transferred  to  his  uncle  and  master.  Canale 
painted  chiefly  views  of  Venice,  in  which  he  shared  honours  with  his  pupil,  Guardi. 
Tiepolo  occasionally  painted  the  figures  in  his  pictures.  He  visited  London  in  1746, 
which  explains  the  large  number  of  his  works  in  English  collections. 

No.  285 

CARRENO  DE  MIRANDA,  Juan  Spanish  School 

Born  in  Aviles  in  161 4,  he  died  in  Madrid  in  1685.  He  studied  in  ^Madrid  under  Las 
Cuevas,  and  improved  himself  by  studying  the  work  of  Velasquez  and  Van  Dyck.  He  was 
employed  by  Philip  IV  on  fresco  work  for  the  decoration  of  his  palaces,  also  produced  a 
number  of  pictures  for  churches.    He  was  made  Court  Painter  under  Charles  II. 

Nos.  258,  259 

CHAMPAGNE,  Philippe  de  French  School 

Although  born  in  Brussels,  this  artist  is  generally  considered  as  of  the  French  School,  since 
he  went  to  Paris  at  nineteen  years  of  age  and  entered  the  studio  of  L'Allemand,  where  he 
soon  won  great  success.  In  1627  he  returned  to  Brussels,  but  was  recalled  by  Marie  de 
Medicis,  and  made  Court  Painter.  In  Paris  he  painted  numerous  pictures  for  churches 
and  royal  residences,  being  particularly  employed  in  the  palace  of  Cardinal  Richelieu.  As  a 
portrait  painter  he  held  high  rank.    He  died  in  1674. 

No.  115 

CHARDIN,  Jean  Baptiste  Simon  French  School 

The  son  of  an  upholsterer,  he  was  born  in  1699  at  Paris,  and  died  there  in  1779.  Pupil  of 
Pierre  Jacques  Cazes  and  later  of  Noel  Coypel,  he  painted  still  life,  interiors,  and  portraits. 
Uninfluenced  by  his  predecessors  and  contemporaries,  he  took  the  line  of  frank  realism, 
which  was  always  controlled  by  taste  and  refinement.  In  1728  Chardin  was  elected  to  the 
French  Academy,  his  talent  being  speedily  recognized  when  he  was  but  twenty-nine 
years  old. 

No.  90 

CHARLEMONT,  Edouard  Modem  Austrian  School 

Born  at  Znaim,  Moravia,  in  1848,  this  genre  and  portrait  painter  was  a  pupil  of  the 
Vienna  Academy  under  Engerth,  then  of  Hans  Makart.  Later  he  took  up  his  residence 
in  Paris. 

No.  244 

CLOUET,  Jean  Flemish  School 

Born  in  Brussels  in  1485,  he  died  in  Paris  in  1541.  He  left  Brussels  when  a  young  man 
and  went  to  Tours,  where  his  illustrious  son  was  born.  Later  he  settled  in  Paris,  where,  in 
1 5 18,  he  became  both  painter  and  valet-de-chambre  to  Francis  I.  He  tried  in  vain  to  secure 
naturalization  in  France,  but  this  was  denied  him,  being  later  granted  to  his  son. 

No.  82 


1:2373 


CLOUET,  Francois  or  Jehannet  French  School 

This  son  of  the  Flemish  master,  who  took  his  father's  surname,  was  born  at  Tours  in  1516, 
and  died  at  Paris  in  1572.  When  about  thirty,  on  the  death  of  his  father,  he  became 
official  painter  and  valet-de-chambre  to  Francis  I,  which  office  he  held  for  a  number  of  years, 
attending  Francis  I  on  his  death-bed  in  1547.  He  also  served  Henry  11  and  Diana  of 
Poitiers,  and  attended  Henry  on  his  death-bed  in  1559.  He  even  further  served  as  valet-de- 
chambre  under  Charles  IX.  He  was  a  skilful  portraitist,  his  work  being  marked  by 
realism  with  precise  drawing  and  close  attention  to  details,  which  show  his  Flemish  origin. 

No.  85 

COELLO,  Alonzo  Sanchez  Spanish  School 

This  Spanish  portrait  and  historical  painter  was  born  in  Valencia  in  15 13  and  died  in  1590. 
He  worked  with  Antonio  Moro  until  he  succeeded  him  as  Court  Painter  to  Philip  11,  and 
painted  numerous  portraits  of  the  king  and  members  of  the  court.  Many  of  his  works  were 
lost  in  the  fire  of  the  Prado  and  the  Alcazar.  His  portraits  are  always  vital  records  of  the 
personality  of  his  sitters  and  good  in  colour,  but  at  times  his  work  suffers  from  over-elabora- 
tion of  detail. 

Nos.  252,  253,  255,  257 

CONSTABLE,  John,  R.A.  English  School 

Born  at  East  Bergholt  in  1776,  he  died  in  London  in  1837.  He  was  the  son  of  a  well-to-do 
miller,  whose  business  he  at  first  followed,  spending  his  leisure  hours  copying  pictures  or 
drawings  of  Girtin.  At  twenty-four  he  entered  the  Royal  Academy  as  a  student,  exhibiting 
his  first  picture  two  years  later.  His  progress  was  slow  until  1819,  when  he  exhibited  his 
"View  on  the  River  Stour,"  which  attracted  attention  and  procured  his  admission  to  the 
Royal  Academy  as  an  Associate.  From  this  period  his  reputation  extended  over  Great 
Britain  and  to  the  Continent.  Exhibiting  at  the  Salon  in  Paris,  he  received  a  gold  medal 
from  the  French  king.  Strong  in  his  originality  and  with  much  refinement,  he  gave  air  and 
light  to  his  landscapes.  He  was  ahead  of  his  time  and  his  works  did  much  to  form  the  style 
of  the  Barbizon  painters. 

Nos.  33,  41 

COQUES,  Gonzales  Flemish  School 

Born  at  Antwerp  in  161 8,  he  died  in  1684.  At  an  early  age  he  became  the  pupil  of  Peter 
Brueghel  the  younger,  and  afterward  studied  under  David  Ryckaert  the  younger,  whose 
daughter  he  married  in  1643.  Coques  was  received  as  a  master  of  the  Guild  of  Painters 
during  1640-41,  and  served  twice  as  dean,  first  in  1665  and  later  in  1680.  As  he  followed 
the  style  of  Van  Dyck,  he  was  called  the  "little  Van  Dyck." 

No.  178 

COSWAY,  Richard  English  School 

Born  in  Devonshire  in  1740,  he  died  in  London  in  1821.  Pupil  of  Thomas  Hudson,  he 
became  an  eminent  miniature  painter,  and  on  his  miniatures  his  fame  chiefly  rests.  He 
painted  many  of  the  beauties  of  the  day,  among  them  Mrs.  Fitzherbert.    In  1769  he  was 


1:238:] 


admitted  to  the  Royal  Academj^  School,  and  became  an  associate  of  the  Royal  Academy  in 
1770  and  full  member  the  following  year. 

Nos.  44,  80 

COTES,  Francis  English  School 

Born  in  London  in  1726,  he  died  in  1770.  Pupil  of  George  Knapton,  he  was  eminent 
as  a  portrait  painter.  He  was  a  member  of  the  Society  of  Artists  and  one  of  the  original 
members  of  the  Royal  Academy,  where  he  exhibited  from  1760  to  1770.  He  was  the  first 
English  artist  to  achieve  fame  as  a  crayon  artist.  Horace  Walpole  compared  his  work  in 
this  medium  to  that  of  Rosalba  Carriere.  His  early  death  removed  from  the  ranks  of 
English  painters  a  man  of  great  promise.  Some  of  his  portraits  rank  with  those  of  Gains- 
borough and  Reynolds,  and  indeed  several  have  been  sold  as  the  works  of  Reynolds. 

No.  13 

CRANACH,  Lucas,  the  Elder  German  School 

He  was  born  at  Cranach  in  1472  and  died  at  Weimar  in  1553.  His  family  name  was 
Miiller,  but  he  was  always  known  under  the  name  of  his  birthplace.  He  established  a 
studio  at  Wittenberg,  which  became  the  source  of  a  great  number  of  pictures  and  which  was 
continued  after  his  death  by  his  son.  He  was  Court  Painter  of  Frederick  the  Wise,  and 
was  twice  elected  burgomaster  of  Wittenberg.  He  was  also  sent  as  ambassador  to  the 
Netherlands.  He  was  a  friend  of  Luther,  whose  portrait  as  well  as  that  of  his  wife, 
Catherine  de  Bora,  he  painted.  His  precise  drawing  and  naturalistic  manner  are  strictly 
Germanic,  but  he  is  one  of  the  most  popular  of  the  earlier  German  painters.  The  symbol 
of  the  winged  dragon  with  crown  and  monogram  which  was  used  by  the  studio  to  mark  its 
productions,  is  not  always  a  guaranty  that  the  picture  was  the  work  of  the  master  himself. 

No.  241 

CRAYER,  Gaspard  de  Flemish  School 

Born  in  Antwerp  in  1582,  this  artist  studied  in  Brussels,  taking  for  his  guidance  the  works 
of  the  ablest  artists  of  his  country.  He  was  made  a  member  of  the  Artists'  Guild  in  1607, 
and  later  was  appointed  Court  Painter  and  was  employed  in  decorating  churches  and  public 
edifices.  Notwithstanding  his  unbounded  success,  he  removed  to  Ghent,  where  he  still 
continued  to  receive  commissions  from  all  parts  of  the  country.  He  worked  unremittingly 
and  in  his  time  was  ranked  with  Rubens  and  Van  Dyck.   He  died  in  Ghent  in  1669. 

No.  229 

CUYP,  Albert  Dutch  School 

Born  at  Dordrecht  in  1620,  he  died  there,  1691.  This  highly  gifted  painter  was  from  early 
infancy  associated  with  art.  His  father,  Jacob  Gerritz  Cuyp,  was  an  artist  of  talent  both 
in  portraiture  and  landscape,  and  was  one  of  the  founders  of  the  Academy  of  Painting  at 
Dort ;  it  was  from  him  that  Albert  received  his  first  instructions,  and  in  his  early  works  may 
be  traced  the  style  of  his  father.  The  younger  Cuyp  was  many-sided  in  his  art,  and  his 
method  varied  during  his  long  career.  He  painted  still  life,  landscapes  with  figures  of  men 
and  horses,  all  with  an  eye  for  fine  perspective  and  atmospheric  effects. 

Nos.  141,  194.  235 


DAUBIGNY,  Charles  Franqois  French  School 

Born  at  Paris  in  1817,  he  died  there  in  1878.  He  was  the  son  and  pupil  of  the  distinguished 
miniature  painter  of  the  French  Restoration,  Edme  Francois  Daubigny.  He  visited  Italy, 
and  returning  in  1836,  studied  under  Paul  Delaroche.  Daubigny  was,  with  Rousseau, 
Corot,  and  Jules  Dupre,  a  lover  of  the  banks  of  the  Oise.  On  a  boat  arranged  as  a  house 
and  studio  combined,  he  made  long  excursions  on  the  Oise  and  Seine.  A  dweller  in  the 
open  air,  he  rendered  with  freshness  the  tender  colour  which  contact  with  nature  alone  made 
possible,  and  brought  to  landscape  painting  an  unusual  grace.  Medals  1848,  '53,  '55,  '57, 
'59)  '67 ;  Legion  of  Honour,  1859.  Officer  of  the  Legion  of  Honour,  1874.  Diploma  to  the 
Memory  of  Deceased  Artists,  Exposition  Universelle,  1878. 

Nos.  123,  124 

DE  HOOGH,  PiETER  Dutch  School 

Born  in  Rotterdam  in  1630,  he  died  in  Amsterdam  about  1677.  Little  is  known  of  this 
genre  painter  beyond  the  fact  that  he  lived  at  Delft  for  some  years,  after  which  he  settled 
in  Amsterdam.  De  Hoogh  formed  himself  after  a  study  of  Rembrandt  and  Karel  Fabritius. 
One  of  the  most  original  artists  of  the  Dutch  School,  he  painted  domestic  interiors  and  is 
considered  one  of  the  best  painters  of  streaming  sunlight  and  shadow.  His  figures  are  so 
posed  as  to  support  his  colour  scheme  and  aid  the  perspective. 

Omitted  from  the  collection. 

DOMINGO,  Francisco  y  Marques  Spanish  School 

Born  in  Valencia  in  1842.  After  studying  at  the  Academy  of  Valencia,  he  received  a  pen- 
sion from  the  city,  which  enabled  him  to  go  to  Rome,  and  later  to  Paris,  to  complete  his 
studies.  His  earlier  work  recalls  the  work  of  Fortuny.  Received  a  medal  in  Paris  in  1871. 
He  has  painted  portraits  and  genre  compositions. 

No.  260 

DROUAIS,  pRANgois  Hubert  French  School 

Born  at  Paris  in  1699,  he  died  there  in  1767.  Portrait  painter,  he  was  son  and  pupil  of 
Hubert  Drouais,  and  continued  his  studies  under  Nonotte,  Carle  Vanloo,  Natoire  and 
Boucher.  He  was  received  in  the  French  Academy  in  1758  and  later  became  Court  Painter. 
His  works  show  the  influence  of  his  masters,  with  the  refinement  in  style  and  dainty  touches 
of  colour  which  specially  characterize  his  work. 

Nos.  106,  116,  122 

ERNST,  R.  German  School 

Of  German  birth,  this  artist  formerly  had  a  studio  in  Munich,  then  later  moved  to  Paris. 
No  details  of  his  life  are  obtainable. 

No.  249 

FLINCK,  GovAERT  Dutch  School 

Born  at  Cleves  in  1615,  he  died  in  Amsterdam,  1660.  History  and  portrait  painter,  he  was 
a  pupil  of  Lambert  Jacobsz,  the  eloquent  Anabaptist  preacher,  at  Leeuwarden.  In  1636  he 
entered  the  studio  of  Rembrandt,  under  whom  his  talent  developed  so  rapidly  that  after  the 


[2403 


first  year  his  pictures  could  scarcely  be  distinguished  from  those  of  his  master.  In  1645  he 
married  the  daughter  of  an  important  citizen  of  Amsterdam,  which  brought  him  important 
commissions.  He  enjoyed  the  favour  of  Elector  William  of  Brandenburg,  and  of  Prince 
Maurice  of  Nassau,  for  whom  he  executed  many  pictures. 

Nos.  168,  212 

FRAGONARD,  Jean  Honore  '  French  School 

Born  at  Grasse,  France,  in  1732,  he  died  at  Paris  in  1806.  He  was  a  pupil  of  Chardin  and 
FranQois  Boucher.  He  won  the  Prix  de  Rome  in  1752.  Going  to  Rome  with  his  friend 
Hubert  Robert,  he  was  much  influenced  by  the  work  of  Tiepolo.  Returning  to  Paris,  he 
was  made  a  member  of  the  Academy  in  1765.  Decorative  paintings  with  figures  were  his 
specialty,  which  he  painted  with  great  skill.  On  the  death  of  Boucher  he  was  accorded  first 
place  among  painters.    Some  of  his  most  famous  works  are  owned  in  America. 

Nos.  86,  112,  120 

FYT,  Jan  Flemish  School 

Born  at  Antwerp  in  161 1,  he  died  there  in  1661.  He  first  studied  painting  under  Jan  van 
den  Berch  and  later  with  Frans  Snyders.  In  1629  he  was  admitted  as  master  in  the  St. 
Luke's  Guild  of  his  native  town,  after  which  he  visited  France  and  Italy,  staying  some  years 
before  returning  to  his  native  country.  Fyt  became  a  member  of  the  Romanists'  Guild  at 
Antwerp  in  1650,  and  later  succeeded  to  the  deanship.  His  work  unites  mastery  of  colour 
with  utmost  care  in  details. 

Nos.  182,  217 

GAINSBOROUGH,  Thomas,  R.A.  Enfflish  School 

Born  at  Sudbury,  in  1727,  he  died  in  London  in  1788.  The  son  of  a  wool  manufacturer, 
after  a  limited  education,  at  fourteen  he  was  apprenticed  to  a  goldsmith  in  London,  where 
he  met  Gravelot,  an  engraver.  The  latter  instructed  him  in  drawing  and  also  gained 
for  him  admission  to  the  St.  Martin's  Lane  Academy  as  a  student.  After  three  years  the 
young  man  executed  a  few  landscapes.  Returning  to  Sudbury  in  1745,  he  married  Mary 
Burr  the  following  year,  and  after  living  in  Ipswich  for  some  years,  moved  to  Bath,  where 
his  success  as  a  portrait  painter  was  most  pronounced.  During  his  fourteen  years'  stay 
in  that  city  he  contributed  regularly  to  the  Royal  Academy  exhibitions,  which  he  continued 
until  near  the  close  of  his  life.  On  returning  to  London,  the  grace  and  elegance  of  his 
portraits  soon  brought  him  into  competition  with  Sir  Joshua  Reynolds  and  with  Wilson 
in  landscape  work. 

Nos.  I,  2,  6,  8 

GHIRLANDAJO,  Domenico  Italian  School 

He  was  born  in  Florence  in  1449  and  died  in  1494.  Four  of  the  same  family,  but  of 
unequal  merit,  have  made  the  name  illustrious  among  Italian  artists.  He  was  first  appren- 
ticed to  a  goldsmith,  but  when  quite  young  won  recognition  for  his  portraits.  Then  he 
studied  painting  under  Baldovinetti,  and  soon  won  renown  for  his  frescoes.  He  was  called 
to  Rome  by  the  Pope  and  worked  in  the  decoration  of  the  Sistine  Chapel.    Returning  to 

[241] 


Florence,  he  decorated  one  of  the  chapels  of  Santa  Maria  Novella.  He  left  some  of  his 
work  unfinished,  which  was  completed  by  his  two  brothers  and  by  his  pupils. 

No.  270 

GIOTTO,  Pupil  of  Italian  School 

Born  in  1276,  Giotto  inaugurated  the  Renaissance  and  left  an  enormous  following.  Pupil 
of  Cimabue,  who  recognized  his  marvellous  aptitude,  he  became  architect,  painter  and  sculp- 
tor, but  aside  from  his  work  at  Assisi  or  Florence  it  is  difficult  to  ascribe  any  altar  pic- 
ture such  as  the  one  in  this  collection  to  him.  It  was  Giotto  who  first  broke  down  the 
Byzantine  tradition  by  his  sincere  observation  of  nature,  by  his  constant  searching  of  life, 
by  representing  gestures,  attitudes  and  expression  in  accord  with  life,  and  by  supplement- 
ing cold  severity  with  warmth.  Having  pointed  the  way  to  his  contemporaries,  he  found 
many  followers.  He  died  in  Florence  in  1337,  leaving  eight  children,  the  oldest  of  whom, 
Francesco,  became  a  painter. 

No.  265 

GOYA  Y  LUCIENTES,  Francisco  Jose  Spanish  School 

Born  at  Fuendetodos  (Aragon),  1746,  he  died  at  Bordeaux  in  1828.  He  studied  first 
under  Jose  Luxan  Martinez  and  afterward  in  Rome.  In  1774  he  returned  to  Spain 
and  settled  in  Madrid,  where  he  painted  pictures  of  religious  subjects  and  portraits.  He 
found  continual  employment  as  a  portraitist  among  the  nobility,  but  his  popularity  was  that 
of  a  satirist  with  the  pencil.  He  may  be  called  the  Hogarth  of  Spain.  He  parodied  religious 
pictures  and  painted  priests  in  the  form  of  asses  and  apes,  and  was  never  weary  of  making 
the  friars  ridiculous.  He  painted  with  dashing  boldness,  sometimes  executing  an  entire 
piece  with  his  palette  knife,  putting  in  the  delicate  touches  with  his  thumb. 

Nos.  250,  251 


GREUZE,  Jean  Baptiste  French  School 

Born  at  Tournus  in  Burgundy  in  1725,  he  died  in  Paris  in  1805.  Genre  and  portrait 
painter,  he  was  a  pupil  at  Lyons  of  Grandon,  and  in  Paris  of  the  Academy  in  1755.  His 
picture  of  the  "Father  Reading  the  Bible  to  his  Children"  was  exhibited  and  greatly 
admired  in  the  same  year,  at  the  close  of  which  he  was  taken  to  Italy  by  the  Abbe  Goujenot. 
After  his  return  he  exhibited  his  "Accordee  du  Village,"  which  excited  the  greatest  en- 
thusiasm. Angry  at  being  received  into  the  Academy  as  a  genre,  and  not  as  a  historical 
painter,  Greuze  retired  to  Anjou,  whence  he  returned  to  exhibit  pictures  in  his  studio, 
which  attracted  all  Paris.  He  amassed  a  large  fortune,  but  lost  it  during  the  Revolution. 
Neglected  by  the  public,  which  admired  only  the  new  school  of  David,  Greuze  passed 
his  last  years  in  misery  and  regret. 

No.  89 

GUARDI,  Francesco  Venetian  School 

Born  in  1712  at  Venice,  he  died  there  in  1793.  Pupil  of  Canaletto,  he  painted  the  same 
class  of  subjects  as  his  master,  and  the  works  of  the  two  are  sometimes  confounded,  but 
those  of  Guardi  are  freer  than  Canaletto's.    They  are,  however,  spirited  and  lifelike. 


I 


showing  countless  figures,  gondolas,  etc.,  all  of  which  show  a  freedom  of  execution,  while 
his  sharp  touches  of  light  and  colour  give  sparkling  effect. 

Nos.  269,  287 

HALS,  Frans  Dutch  School 

Born  in  Antwerp  in  1580,  whither  his  family  had  gone  for  a  time,  he  died  in  Haarlem  in 
1666.  When  Frans  was  still  a  boy,  his  parents  returned  to  Haarlem,  where  his  brother 
Dirk  was  born.  Pupil  of  Karl  van  Mander,  his  talent  attracted  much  attention,  but 
his  extravagant  habits  and  gay  life  soon  brought  him  into  financial  difficulties.  To  increase 
his  resources  he  opened  a  studio  which  brought  him  many  pupils,  among  whom  were 
Isaac  van  Ostade  and  Adrian  Brouwer.  In  the  beginning  Hals  was  a  portraitist  of  the 
Holland  School,  able  in  drawing  and  sure  in  vision  and  hand ;  later  he  enlarged  his  man- 
ner, becoming  freer.  During  his  last  years  he  sought  to  catch  the  passing  expression  and 
fix  it  on  his  canvas  by  a  rapid  stroke  of  the  brush.  He  delighted  to  catch  such  passing 
scenes  of  child  life  in  the  streets  as  the  one  of  this  collection.  For  a  long  time  his  works 
were  neglected  by  collectors,  but  later  came  into  recognition  of  their  great  merits. 

No.  127 

HALS,  Dirk  Dutch  School 

Born  in  Haarlem  in  1599,  he  died  in  1656.  He  was  a  pupil  of  his  elder  brother  Frans, 
and  also  worked  under  Abraham  Bloemaert.  He  painted  animals,  also  interiors  with 
figures,  being  especially  successful  with  joyous  gatherings  of  men  and  women  gaily 
dressed  and  gathered  at  table.  Toward  the  end  of  his  life  he  adopted  the  manner  of  Pal- 
amedesz  Stevaerts. 

Nos.  137,  237 

HEDA,  Willem  Claes  Dutch  School 

Born  at  Haarlem  in  1594,  he  died  after  1678.  A  still-life  painter  of  eminence,  he  was 
dean  of  the  guild  at  Haarlem  in  163 1  and  165 1.  Occasionally  he  painted  also  historical 
subjects. 

No.  228 

HEUSCH,  Jacob  de  Dutch  School 

Born  in  Utrecht,  1657,  he  died  in  Amsterdam  in  1701.  He  was  a  pupil  of  his  uncle, 
Willem  de  Heusch.  He  went  to  Italy,  sojourning  at  Venice  and  Rome,  where  he  came 
under  the  influence  of  Salvator  Rosa.  Later  he  went  to  Berlin,  where  he  hoped  to  be  made 
Court  Painter,  but  in  this  he  was  disappointed  and  returned  to  Holland,  where  he  prac- 
tised his  art.  His  landscapes  are  often  in  the  manner  of  those  of  Poussin,  who  held  great 
popularity  at  the  time.  Heusch,  who  was  also  an  engraver,  engraved  many  of  his  own 
pictures. 

No.  143 

HEYDEN,  Jan  van  der  Dutch  School 

Born  at  Gorinchem  or  Gorkum  in  1637,  he  died  in  Amsterdam  in  1712.  Architecture 
and  landscape  painter,  he  was  apprenticed  at  first  to  a  glass  painter,  then  studied  architec- 


ture.  His  views  of  buildings  and  street  scenes  show  a  feeling  for  the  picturesque  with 
warm  transparent  tones  and  accurate  perspective.  The  figures  were  generally  painted 
in  by  Adrian  van  de  Velde,  Eglon  van  der  Neer,  or  Lingelbach.  Heyden  had  a  fine 
sense  for  linear  and  aerial  work  with  a  delicate  minuteness  of  detail  in  his  pictures. 
Occasionally  he  varied  his  practice  by  painting  still  life.  He  ranks  among  the  first  of 
those  who  represent  exteriors  of  buildings. 

No.  238 

HOBBEMA,  Meindert  Dutch  School 

Born  at  Amsterdam  in  1638,  and  later  baptized  at  Koeverden,  also  said  to  have  been  his 
birthplace,  he  died  there,  in  1709.  He  probably  studied  under  Jacob  van  Ruysdael,  who 
was  the  witness  at  Hobbema's  marriage  to  Eeltie  Vinck  in  Amsterdam  in  1668.  His 
specialty  was  wooded  landscapes,  often  with  streaming  sunlight  and  an  occasional  pool  of 
water  or  mill,  with  human  figures  at  times  painted  in  by  Lingelbach,  Van  de  Velde  or 
Berchem.  Little  known  or  appreciated  in  Holland,  Hobbema  died  poor,  like  Rembrandt 
forty  years  before,  and  in  the  same  street,  The  Roosegraft,  Amsterdam.  His  works, 
however,  are  greatly  valued  now  in  all  countries. 

Nos.  132,  148 

HODE,  J.  (or  HoDius)  Dutch  School 

There  is  much  uncertainty  as  to  the  identity  of  this  Dutch  painter  of  the  XVI  and  XVH 
centuries.  He  is  supposed  to  be  the  son  of  Hendrik  Hodius,  who  was  born  at  Amsterdam  in 
1597  and  died  there  in  1658.  Jodocus  Hodius  was  a  member  of  the  Guild  of  Painters  at 
The  Hague  in  1635.  The  several  artists  of  this  family  name  were  both  painters  and 
engravers. 

No.  165 

HOGARTH,  William  En&lish  School 

Born  at  London  in  1697,  he  died  there  in  1764.  He  was  apprenticed  at  an  early  age 
to  a  silver-plate  engraver,  and  when  twenty-three  years  old  set  up  in  business  on  his 
own  account.  Among  other  works  he  engraved  twelve  plates  for  Butler's  "Hudibras." 
He  entered  the  school  of  Sir  James  Thornhill,  Sergeant-painter  to  the  King,  whose 
daughter  he  married,  in  1729.  The  work  which  first  established  his  fame  was  the  series 
of  the  "Harlot's  Progress,"  which  was  immediately  followed  by  the  "Rake's  Progress"; 
both  are  similar  in  scope  and  design  to  the  "Marriage  a  la  Mode"  series  in  the  National 
Gallery,  London.  The  engravings  made  by  Hogarth  from  these  pictures  brought  him 
both  money  and  fame. 

Nos.  29,  66 

HOLBEIN,  SiGMUND  German  School 

This  younger  brother  of  Hans  Holbein  the  Elder  was  born  in  Augsburg  between  1465 
and  1470,  where  he  began  his  studies.  In  1509  he  went  to  Switzerland,  taking  up 
his  residence  in  Berne,  where  he  acquired  the  right  of  citizenship.  He  died  in  Berne, 
where  his  will  bequeathing  all  his  property  to  his  nephew  Hans  is  preserved  among  the 
records  of  the  city.  He  died  about  1540. 
Nos.  239,  240 


C244II 


HONDEKOETER,  Melchior  de  Dutch  School 

This  member  of  a  noble  family  of  Brabant  was  born  at  Utrecht  in  1636  and  died  in 
Amsterdam  in  1695.  First  studied  under  his  father,  then  under  his  uncle,  Jan  Weenix, 
and  became  famous  for  his  pictures  of  birds,  fowl,  game,  etc.,  in  which  he  stands  unrivalled. 
He  also  painted  a  few  marines. 

No.  221 

HONTHORST,  Gerard  van  Dutch  School 

Born  in  Utrecht  in  1590,  he  died  in  1656.  He  was  a  pupil  of  Abraham  Bloemaert. 
According  to  the  custom  of  young  painters  at  that  time,  he  went  to  Italy,  where  he  came 
under  the  influence  of  the  naturalistic  painter  Caravaggio.  Coming  back  in  1623,  he 
stayed  for  some  time  in  London,  then  went  to  The  Hague,  where  he  painted  portraits  and 
gained  favour  at  court.  In  his  best  period,  he  painted  genre  pictures  with  figures  of  life 
size.  His  mastery  of  light  and  shade  exerted  a  great  influence  on  the  Dutch  School  of 
painting,  and  on  Rembrandt  in  particular.  His  various  Concerts  and  joyous  reunions 
of  gay  people,  which  have  made  his  reputation,  may  be  found  in  all  European  museums. 

No.  142 

HOPPNER,  John,  R.A.  English  School 

Born  in  1758  at  Whitechapel,  London,  he  died  there  in  1810.  As  a  youth  he  was  a  choris- 
ter in  the  Royal  Chapel,  but  in  1775  became  a  pupil  of  the  Royal  Academy.  He  became 
an  associate  of  the  Royal  Academy  in  1793  and  a  full  member  a  few  years  later.  Under 
the  patronage  of  the  Prince  of  Wales,  he  rose  rapidly  and  became  a  fashionable  portrait 
painter,  finding  a  rival  only  in  Lawrence.  Basing  his  style  on  Sir  Joshua  Reynolds,  never- 
theless he  still  maintained  an  originality  of  his  own,  and  was  especially  happy  in  his 
painting  of  women  and  children.  The  Prince,  also  the  Duke  and  Duchess  of  York,  were 
among  his  sitters. 

Nos.  3,  7,  20,  24,  30,  38,  65,  70,  73 

ISABEY,  Louis  Gabriel  Eugene  French  School 

Born  in  Paris  in  1804,  he  died  there  in  1886.  He  was  the  son  and  pupil  of  J.  B.  Isabey, 
the  celebrated  miniaturist,  and  soon  won  recognition  in  his  art  through  the  powerful 
influence  of  his  father.  But  he  broke  away  from  the  classical  school  of  his  father  and 
followed  the  banner  of  romanticism  under  Delacroix  and  Bonington.  He  painted  land- 
scapes, coast  scenes  and  marines.  In  1832,  when  less  than  thirty  years  of  age,  he  was  made 
Chevalier  of  the  Legion  of  Honour,  and  later  given  the  Officer's  Cross.  He  produced 
a  large  number  of  pictures,  and  was  very  popular  personally. 

No.  103 

JANSSENS  VAN  CEULEN,  Cornelis  English  School 

Born  in  London,  this  artist  lived  and  worked  there  for  more  than  fifty  years,  then  went  to 
Amsterdam,  where  he  died  in  1664.  It  is  said  the  reason  for  his  leaving  England  was  that 
he  was  jealous  of  the  renown  of  Van  Dyck,  an  alien,  as  a  portrait  painter.  From 
1618  until  1643,  or  even  later  according  to  some  writers,  Janssens  painted  portraits  in 

C245II 


London.  After  taking  up  his  residence  in  Holland  he  gained  many  public  commissions, 
and  was  very  successful. 

Nos.  56,  63 

KEYSER,  Theodore  or  Thomas  de  Dutch  School 

Born  in  Amsterdam  in  1595,  he  died  there  in  1679.  Little  or  nothing  is  known  of  the 
life  of  this  great  painter,  who  preceded  Rembrandt  by  a  dozen  years,  dying  a  year  later 
than  the  great  master.  But  there  is  no  doubt  that  he  exercised  a  great  influence  over  his 
art.  It  is  believed  he  was  the  pupil  of  Cornelis  van  der  Voort.  It  is  certain,  however, 
that  he  painted  in  Amsterdam  from  1619  to  the  end  of  his  life  in  1667,  and  some  of  his 
pictures  that  remain  stamp  him  as  one  of  Holland's  greatest  painters.  His  pictures  are  to 
be  found  in  nearly  all  European  galleries. 

Nos.  144,  145,  184,  185 

KNELLER,  Sir  Godfrey  English  School 

Though  born  in  Lubeck,  Germany,  Kneller  spent  most  of  his  life  in  London,  and  died 
there  in  1723,  becoming  the  Court  Painter  of  Charles  II.  Destined  for  a  military  career, 
he  showed  such  artistic  talent  that  his  father  sent  him  to  Amsterdam,  where  he  is  said 
to  have  become  a  pupil  of  Rembrandt.  This,  however,  is  doubtful;  but  he  did  become 
a  pupil  of  Ferdinand  Bol,  who  had  been  a  pupil  of  Rembrandt.  At  twenty-six  he  went  to 
Rome,  where  he  studied  under  Carlo  Maratti.  From  Rome  he  went  to  Venice,  where 
he  gained  great  success  as  a  portraitist.  After  two  years  in  Italy,  he  returned  to  Germany 
but  immediately  set  out  for  London,  where  he  soon  gained  a  position  at  court  on  equality 
with  Lely.  He  soon  became  the  fashion  and  all  the  great  people  sat  to  him.  The  king 
sent  him  to  Paris  to  paint  the  portrait  of  Louis  XIV.  So  numerous  were  his  com- 
missions that  he  generally  painted  only  the  head  of  his  sitters,  leaving  the  rest  for  his 
assistants  to  do. 

No.  48 

LARGILLIERE,  Nicolas  de  French  School 

Born  at  Paris  in  1656,  he  died  there  in  1746.  Historical  and  portrait  painter,  he  was  a 
pupil  of  Antoine  Goubeau  at  Antwerp,  and  at  London  of  Lely.  He  was  received  into 
St.  Luke's  Guild  in  1672,  and  went  to  England  in  1674,  where  he  remained  four  years. 
In  1678  he  went  to  Paris  and  gained  a  great  reputation  as  a  portrait  painter  during  the 
next  six  years,  after  which  he  returned  to  England,  where  he  painted  James  II  and  his 
queen.  He  was  made  member  of  the  Academy  in  1686,  professor  in  1705,  rector  in  1722, 
and  chancellor  in  1743. 

Nos.  95,  96,  ICQ,  113,  121 

LAWRENCE,  Sir  Thomas  English  School 

Born  in  Bristol  in  1769,  this  son  of  an  innkeeper  died  in  London  in  1830.  At  an  early 
age  the  boy  won  attention  by  his  crayon  portraits  of  the  patrons  of  his  father's  house. 
At  eighteen  he  went  to  London,  where  he  came  under  the  direction  of  Reynolds,  and  soon 
made  his  way  by  his  portraits,  becoming  a  member  of  the  Academy  at  twenty-one.  On  the 
death  of  Reynolds,  he  received  the  appointment  of  Painter  to  the  King,  and  was  commis- 


[246] 


sioned  to  paint  the  King  and  Queen  for  the  Emperor  of  China.  In  1814  he  made  his  first 
visit  to  the  Continent,  but  was  recalled  to  paint  important  commissions.  In  1816  he 
went  to  Italy,  where  he  painted  Pope  Pius  VII,  Cardinal  Consalvi,  and  Canova.  Return- 
ing to  London,  he  was  elected  President  of  the  Royal  Academy,  and  in  iSiS  he  was  made 
a  member  of  the  American  Academy. 

Nos.  10,  17,  23,  31,  36,  40,  46 

LEBRUN,  ViGEE-,  Marie  Louise  Elisabeth  French  School 

Born  in  Paris,  1755,  she  died  in  1842.  She  was  preeminently  a  painter  of  portraits, 
although  she  gave  some  attention  to  historical  scenes  and  landscapes.  It  is  recorded  she 
left  over  650  portraits,  200  landscapes  and  15  historical  pictures  at  her  death.  She  was 
a  member  of  the  French  Academy  and  also  of  those  of  St.  Petersburg,  Bologna,  Copen- 
hagen, Parma,  Berlin  and  Geneva. 

Nos.  102,  108,  X19 

LEDUCQ,  Jan  Dutch  School 

This  landscapist  was  born  at  The  Hague  in  1636  and  died  there  in  1693.  He  was  a 
pupil  of  Paul  Potter  and  Karl  Dujardin,  and,  besides  landscapes,  painted  animals  and 
figures.  Giving  up  painting,  he  became  an  officer  in  the  service  of  the  States  General 
and  died  from  a  wound  received  in  active  service. 

No.  222 

LELOIR,  Alexandre  Louis  French  School 

Born  at  Paris  in  1843,  he  died  in  1884.  Genre  painter,  he  was  the  son  and  pupil  of  J.  B. 
Auguste  Leloir.  His  composition  is  ingenious,  his  colouring  agreeable,  and  his  style  decora- 
tive.   He  won  medals  in  1864,  1868,  1870  and  1878  and  the  Legion  of  Honour  in  1876. 

No.  104 

LELY,  Sir  Peter  (real  name,  Peter  van  der  Faes)  English  School 

Born  at  Soest  in  Westphalia,  161 8,  he  died  at  London  in  1680.  Showing  a  passion 
for  art,  he  was  sent  as  a  pupil  to  de  Grebber  in  Haarlem,  but  on  coming  to  England 
with  William  of  Orange,  son-in-law  of  Charles  I,  in  1641,  he  so  closely  studied  the  man- 
ner of  Van  Dyck,  who  had  just  died,  that  his  earlier  portraits  often  approach  the  great 
master's  style.  For  thirty  j'ears  he  was  the  most  popular  portrait  painter  in  England  and 
amassed  a  large  fortune.    He  was  made  Court  Painter  and  knighted  by  Charles  II. 

Nos.  57,  77 

LINNELL,  Sir  John  English  School 

Born  in  1792  at  London,  he  died  there  in  1882.  Landscape  painter,  he  was  a  pupil  of 
Benjamin  West  and  John  Varley. 

No.  16 

LIPPI,  FiLiPPO,  THE  Younger  (known  as  Filippino)  Florentine  School 

Born  at  Florence  about  1457,  he  died  there  in  1504.  He  was  the  son  of  Era  Filippo  Lippi, 
after  whose  death  Filippino  became  the  pupil  of  Era  Diamante,  who  had  been  his  father's 

[247] 


assistant;  subsequently  he  entered  the  studio  of  Botticelli,  whose  influence  is  often  observ- 
able. The  young  man  also  studied  the  works  in  frescoes  of  Masolino  and  Masaccio,  as 
his  father  had  done  before  him.  In  1484  Filippino  was  commissioned  to  complete  a 
series  of  frescoes  which  Masaccio  had  left  unfinished  at  his  death  nearly  sixty  years  before; 
this  work  was  nobly  fulfilled  and  the  young  artist's  reputation  was  established. 

No.  267 

LONGHI,  PiETRO  Venetian  School 

Born  at  Venice  in  1702,  he  died  there  in  1762.  He  first  studied  in  the  then  celebrated 
school  of  Antonio  Balestra  at  Bologna,  and  later  became  the  pupil  of  Giuseppe  Crespi  in 
the  same  city.    Longhi  finally  settled  in  the  place  of  his  birth. 

No.  286 

LUCAS,  Seymour  English  School 

This  contemporary  English  painter  was  born  in  1851.  His  work  has  long  been  popular 
in  Great  Britain. 

Nos.  68,  69 

LUINI,  Bernardino  Lombard  School 

Born  at  Luino  between  1475  and  1480,  he  died  in  Milan  after  1533.  He  is  supposed  to 
have  been  the  pupil  of  Leonardo  da  Vinci,  whose  manner  he  so  closely  imitated  that  many 
of  his  pictures  pass  for  the  work  of  this  master,  though  they  lack  the  depth  and  finish  of  da 
Vinci.  Luini  is  justly  celebrated  for  composition  and  expression  with  pleasing  colour.  It  is 
singular  that  we  should  remain  almost  ignorant  of  the  biography  of  a  man  who  deserves 
so  high  a  place  in  art  and  who  has  left  so  many  noble  works. 

No.  276 

MADRAZO,  Raimundo  de  Spanish  School 

Born  at  Rome  in  1841.  He  was  a  pupil  of  his  father,  Federico  de  Madrazo,  who  was 
painter  to  the  court  of  Spain  and  curator  of  the  Madrid  Gallery.  Raimundo,  the 
brother-in-law  of  Fortuny,  also  became  a  student  in  Paris  at  the  Ecole  des  Beaux-Arts, 
under  Leon  Cogniet.  He  won  medals  in  1878,  1889,  Exposition  Universelle,  Legion  of 
Honour,  1878,  Officer,  1889.  He  visited  America  in  1896,  where  he  painted  a  number  of 
portraits. 

No.  263 

MAES,  Nicolas  Dutch  School 

Born  at  Dordrecht  in  1632,  he  died  at  Amsterdam  in  1693.  He  was  a  pupil  of  Rem- 
brandt, and  distinguished  from  most  of  the  Dutch  genre  painters  by  his  richer  colouring. 
In  the  later  years  of  his  life  he  seems  to  have  become  chiefly  a  portrait  painter.  The 
Amsterdam  and  Berlin  Galleries,  the  Uffizi,  and  the  Van  der  Hoop  Collections  have  each 
one  of  his  pictures,  while  the  National  Gallery  in  London  possesses  five  examples  and 
the  Metropolitan  Museum  four.  Others  are  in  private  collections.  Smith  mentions  only 
forty-five  of  his  works  in  all. 

Nos.  134.  149,  173,  211 


[248: 


/ 


MAINARDI,  Sebastiano  Italian  School 

Born  in  San  Gemignano  in  1482,  he  died  in  Florence  in  1515.  He  was  a  friend  and 
pupil  of  Ghirlandajo,  and  executed  almost  all  the  frescoes  at  Florence  for  which  his  master 
had  been  commissioned,  for  which  assistance  Ghirlandajo  recompensed  him  by  giving 
him  his  sister  in  marriage.  His  fame  rests  mainly  on  his  fresco  work,  much  of  which 
has  been  lost. 

No.  274 

MANCINI,  G.  Italian  School 

This  contemporary  Italian  painter  was  born  in  Naples,  his  father  being  a  well  known 
marine  artist  there.  He  won  the  friendship  of  Sargent,  through  whose  efforts  an  ex- 
hibition of  his  pictures  was  held  in  New  York  about  1890,  when  this  work  was  purchased. 

No.  289 

MEMLING,  Hans  Flemish  School 

Born  about  1430  at  Mayence,  he  settled  in  Bruges  about  1467,  where  he  died  in  1494. 
He  used  the  technical  methods  perfected  by  the  Van  Eycks,  while  his  works  afford  presump- 
tive evidence  of  his  affiliation  with  Rogier  van  der  Weyden,  whom  he  doubtless  studied  if 
not  directly  as  a  pupil.  As  a  religious  painter  Memling  ranks  above  his  contemporaries, 
showing  a  certain  ideal  strain  that  elevates  his  work,  and  a  serene  cheerfulness.  He  avoided 
a  too  realistic  representation  of  grief  and  pain  or  any  undignified  expressions  of  purity  and 
resignation.    His  infant  Christ  is  no  longer  the  awkward  being  of  earlier  Flemish  art. 

No.  196 

METSU,  Gabriel  Dutch  School 

Born  at  Leyden  in  1630,  he  died  at  Amsterdam  in  1667.  He  had  the  advantage  of 
Gerard  Douw's  tuition,  and  as  early  as  1664  became  a  member  of  the  Leyden  Guild  of 
Painters.  Removing  to  Amsterdam  in  1650,  he  fell  under  the  influence  of  Rembrandt. 
He  unquestionably  formed  his  style  from  the  study  of  works  by  such  distinguished  men 
as  Gerard  Douw,  Frans  van  Mieris,  Terburg,  Jan  Steen  and  Rembrandt,  who  are  all 
superior  to  him  in  invention  and  the  delineation  of  character.  However,  Metsu  gained  a 
grace  of  expression  and  elegance  in  demeanour  which  left  him  without  a  rival  in  the  Dutch 
School. 

Nos.  150,  151 

MIEREVELT,  Michiel  Jansz  van  Dutch  School 

Born  in  1567  at  Delft,  he  died  there  in  1641.  He  studied  engraving  with  Jan  Weenix 
and  painting  under  Antony  van  Blockland.  He  painted  many  portraits  of  the  princes 
of  the  house  of  Nassau,  and  nearly  all  the  celebrities  and  rich  merchants  of  his  day  sat 
to  him,  but  unfortunately  the  identities  of  many  of  these  sitters  have  been  lost. 

Nos.  160,  166,  167 

MIERIS,  Frans  van  Dutch  School 

Born  in  Delft  in  1635,  this  son  of  a  lapidary  was  one  of  23  children  and  died  at  Leyden 
in  1 68 1.    He  entered  the  studio  of  Gerard  Douw,  who  called  him  the  prince  of  all  his 


C2493 


pupils.  Later  he  studied  with  Abraham  Tempel.  In  his  pictures  of  interiors  with  figures 
he  loved  to  represent  silks,  satins,  plate  and  jewels,  which  he  painted  with  rare  skill, 
winning  renown  in  his  lifetime.  He  left  two  sons,  Jan  and  Willem,  both  pupils  of  their 
father,  but  not  his  equal  in  skill. 

Nos.  204,  233 

MIGNARD,  Pierre  French  School 

Born  in  1610  at  Troyes,  he  died  in  Paris  in  1695.  He  was  a  portrait  and  allegory  painter, 
and  spent  several  years  at  Fontainebleau,  where  the  works  of  Primaticcio  inspired  him 
with  the  desire  to  visit  Italy.  He  went  to  Italy,  where  he  remained  for  twenty-two 
years;  on  his  return  he  went  to  Avignon  and  was  visited  there  by  Louis  XIV,  when 
he  painted  so  good  a  portrait  of  the  king  that  he  was  called  to  Paris  by  royal  command 
and  there  received  all  the  honours  of  a  court  painter,  and  upon  the  death  of  Lebrun 
became  director  of  the  Academy. 

Nos.  87,  88,  99,  lOi 

MOREELSE,  Paulus  Dutch  School 

Born  at  Utrecht  in  1571,  he  died  there  in  1638.  He  was  a  portrait  painter,  pupil  of 
Mierevelt  at  Delft.  After  finishing  his  studies  in  Rome  in  1596,  he  became  a  master 
of  the  Utrecht  Guild.  His  style  is  noteworthy,  as  he  is  one  of  the  forerunners  of  Rem- 
brandt. He  was  a  member  of  the  Council  and  City  Treasury.  He  painted  chiefly  por- 
traits with  a  few  historical  pictures. 

Nos.  152,  154,  155 


MORLAND,  George  Enfflish  School 

Born  at  London  in  1763,  he  died  there  in  1804.  He  was  the  son  of  Henry  Robert  Mor- 
land,  a  portrait-cra5on  artist  and  an  engraver  in  mezzotint.  He  married  the  sister  of 
James  Ward,  R.A.,  who  was  afterward  united  to  Maria  Morland,  the  painter's  sister. 
Morland  exhibited  altogether,  at  the  Royal  Academy,  between  1779  and  1804,  thirty-six 
pictures.  The  first  is  called  in  the  catalogue,  "A  Drawing  with  a  Poker."  The  last, 
in  1804,  is  termed,  "A  Landscape  with  Hounds  in  Full  Chase."  "The  Inside  of  a  Stable," 
exhibited  at  the  Royal  Academy  in  1791,  was  presented  to  the  National  Gallery  in  1877. 

Nos.  15,  32,  42,  43,  78 

MORO  (or  Mor),  Antonio  Dutch  School 

Born  at  Utrecht  about  1512,  he  died  in  Antwerp  between  1576  and  1578.  He  was  a  por- 
trait painter,  pupil  of  Jan  Scorel,  and  later  became  a  member  of  the  St.  Luke's  Guild  in  his 
native  town.  He  visited  Italy,  and  after  his  return  (1549)  Cardinal  Granvelle  recom- 
mended him  to  Charles  V,  who  sent  him  as  a  portrait  painter  to  Madrid,  Lisbon  and 
England.  Later  he  entered  the  service  of  Philip  II,  whom  he  accompanied  to  Madrid. 
His  portraits  are  remarkable  for  their  truth  and  feeling,  as  well  as  for  their  masterly 
drawing,  careful  execution,  and  admirable  colouring.  He  is  sometimes  called  Sir  Antonio 
Moro,  though  it  is  not  known  when  or  where  he  was  knighted. 

Nos.  128,  129,  164,  169 


[250] 


NATTIER,  Jean  Marc  French  School 

Born  at  Paris  in  1685,  he  died  there  in  1766.  He  was  a  history  and  portrait  painter,  and 
son  and  pupil  of  Marc  Nattier.  He  won  the  first  prize  of  the  Academy  in  1700,  then 
travelled  in  Holland  and  Russia  and  was  employed  to  copy  the  Rubens  pictures  in  the 
Luxembourg  to  be  engraved.  He  became  a  member  of  the  French  Academy  in  1718, 
an  adjunct  professor  in  1746,  and  professor  in  1752.  In  1715  he  painted,  at  Amsterdam, 
Peter  the  Great,  his  wife  Catherine  I,  and  many  of  his  courtiers;  also  a  picture  of  the 
Battle  of  Pultowa,  for  the  Czar. 

Nos.  109,  III,  114 

NETSCHER,  Caspar  Dutch  School 

Born  at  Heidelberg  in  1639,  he  died  at  The  Hague  in  1684.  He  was  one  of  the  chief 
painters  of  Dutch  "high  life."  His  mother,  after  seeing  her  two  older  children  die  of 
hunger,  escaped  with  Caspar  through  the  investing  lines  of  Heidelberg,  the  besieged  town, 
to  Arnheim.  Netscher  studied  under  Koster  in  the  latter  town,  together  with  Terburg  and 
Deventer.  In  1659  he  started  on  a  tour  to  Italy,  but  at  Bordeaux  fell  in  love  with  a 
girl  from  Liege,  married  and  settled  there;  he  soon  returned  to  Holland  and  rapidly  ac- 
quired fame  as  a  portrait  painter.    His  sons  Theodor  and  Constantine  were  both  painters. 

Nos.  156,  157 

OPIE,  John  English  School 

Born  in  the  village  of  St.  Agnes,  near  Truro,  Cornwall,  in  1761,  he  died  in  1807  in  London, 
where  he  was  taken  by  Dr.  Wolcott  ("Peter  Pindar")  when  nineteen  years  old.  Through 
this  patron's  influence  John  Opie  soon  acquired  fame  as  a  portrait  painter  and  became 
known  as  the  "Cornish  Wonder"  and  realized  a  moderate  fortune.  He  then  turned  to  his- 
torical painting  and  first  exhibited  his  work  in  1787,  which  secured  his  election  as  an  Asso- 
ciate Member  of  the  Royal  Academy.  A  year  later  he  was  made  a  full  Academician.  In 
1805  he  became  a  professor  of  painting  in  the  Royal  Academy,  but  delivered  only  four  lec- 
tures before  his  death. 

No.  14 

OSTADE,  Adrian  van  Dutch  School 

Born  at  Haarlem  in  1610,  he  died  there  in  1685.  He  was  a  pupil  of  Frans  Hals.  His 
second  wife  was  the  daughter  of  Jan  van  Goyen.  An  inimitable  painter  of  rustic  scenes 
and  an  excellent  etcher,  he  had  many  pupils,  one  of  whom  was  his  brother  Isaac,  another 
being  the  famous  Jan  Steen.  His  early  paintings  are  coolest  in  tone,  while  those  of  his 
middle  period  are  warmer  or  golden,  showing  gradually  the  influence  of  Rembrandt. 

Nos.  175,  176,  195,  234 

OSTADE,  Isaac  van  Dutch  School 

Born  at  Haarlem  in  1 621,  he  died  there  in  1649.  He  was  the  brother  and  pupil  of  Adrian, 
whom  he  imitated  in  many  ways,  while  he  adopted  a  little  different  class  of  subjects, 
representing  travellers  halting  at  inns,  village  scenes  with  animated  figures,  etc.  Isaac  van 
Ostade,  it  may  be  said,  made  the  most  of  his  short  career  and  his  pictures  are  eagerly  sought 
by  collectors.    He  painted  out-of-door  scenes  and  was  wont  to  introduce  white  horses 


1:250 


to  serve  as  a  mass  of  light  against  his  brownish  background,  probably  due  to  his  study  of 
Rembrandt's  works.    His  best  works  were  executed  from  1644  to  1649. 

No.  232 

PALMA,  Jacopo  (called  Palma  il  Vecchio)  Italian  School 

Born  near  Bergamo  about  1480,  he  died  in  Venice  in  1528.  The  facts  of  his  life  are  lost  in 
obscurity,  but  it  is  known  that  he  worked  in  Venice,  where  he  produced  altar  pictures  and 
smaller  pictures  of  Madonnas  and  Saints.  He  left  at  his  death  46  pictures  in  his  studio, 
many  in  an  uncompleted  state,  which  were  finished  by  his  pupils.  He  never  signed  or 
dated  any  of  his  pictures.  He  was  called  II  Vecchio,  the  elder,  to  distinguish  him  from 
his  grandnephew,  also  a  painter. 

No.  284 

PATER,  Jean  Baptiste  Josef  French  School 

Born  in  Valenciennes  in  1696,  he  died  in  Paris  in  1736.  This  painter  of  fetes  galantes 
was  the  son  of  a  wood  carver,  who  first  instructed  him  in  the  principles  of  art,  then  took 
him  when  quite  a  young  man  to  Paris,  where  he  became  the  pupil  of  his  fellow-townsman, 
Watteau,  who  imbued  him  with  his  own  ideas.  He  was  of  delicate  health  and  lived  a 
very  secluded  life,  rarely  going  out  of  the  studio,  but  working  with  the  utmost  diligence 
from  a  haunting  fear  of  poverty.  Through  his  constant  toil,  his  health  gave  way  and 
he  died  at  forty-one,  before  he  could  enjoy  his  prosperity.  In  his  choice  of  subjects  and  in 
composition  he  followed  Watteau. 

Nos.  97,  118 

POURBUS,  Frans,  the  Younger  Flemish  School 

Born  in  Antwerp  in  1569,  he  died  in  Paris  in  1622.  Historical  and  portrait  painter,  he 
was  the  son  and  pupil  of  Frans  Pourbus  the  elder,  though  doubtless  studied,  after  his  father 
died,  under  other  painters.  He  became  a  free  master  of  the  Guild  of  St.  Luke  at  the  age 
of  twenty-one.  After  1600  he  resided  in  Brussels,  from  where  he  went  to  Italy  and  was 
Court  Painter  to  Vincenza  I  at  Mantua.  From  1610  this  painter  flourished  at  the  court 
of  Henry  IV  of  France,  when  he  painted  various  portraits  of  that  monarch  and  his  queen, 
Marie  de  Medicis.  His  portraits  and  historical  pictures  are  superior  to  the  works  of 
his  father. 

Nos.  126,  170,  172 

POURBUS,  Frans,  the  Elder  Flemish  School 

This  Flemish  painter  was  born  in  Bruges  in  1545,  and  died  in  Antwerp  in  1581.  He 
was  the  son  and  pupil  of  Pieter  Pourbus,  a  painter,  then  of  Frans  Floris  at  Antwerp.  In 
turn  he  was  the  instructor  of  his  son,  to  whom,  as  a  portrait  painter,  he  was  inferior. 

Nos.  138,  139 

RAEBURN,  Sir  Henry  En^^lish  School 

Born  at  Stockbridge,  near  Edinburgh,  in  1756,  and  died  near  there  in  1823.  While  ap- 
prenticed to  a  goldsmith  in  Edinburgh,  he  tried  miniature,  then  portrait  painting.  A 
fortunate  marriage  enabled  him  to  visit  (1778)  London  and  Italy.    On  his  return  in 


1:252] 


1 780,  he  set  up  as  a  portrait  painter  in  Edinburgh.  He  soon  won  high  rank  in  his  art, 
and  was  elected,  in  181 2,  President  of  the  Society  of  Artists  in  Scotland,  and  in  1822 
was  knighted,  and  the  next  year  was  appointed  His  Majesty's  limner  for  Scotland.  Nine 
of  his  portraits  are  in  the  National  Gallery,  Edinburgh,  and  two  in  the  Lenox  Gallery 
of  tTie  New  York  Public  Library. 

Nos.  4,  12 

RAFFAELLINO  DA  COLLE  Italian  School 

This  Italian  painter  was  born  at  Colle  about  1490  and  died  in  1530.  He  was  a  pupil 
first  of  Raphael  and  then  of  Giulio  Romano,  with  whom  he  collaborated  in  fresco  decora- 
tions. He  strove  to  imitate  the  manner  of  Raphael.  His  style  is  pure  and  his  drawing 
very  able.    He  worked  for  some  time  on  the  decorations  of  the  Vatican. 

No.  277 

RAVESTEYN,  Jan  van  Dutch  School 

Born  at  The  Hague,  circa  1572,  and  died  there  in  1657.  He  was  appointed  to  the 
Painters'  Guild  of  St.  Luke  in  his  native  town  in  1598.  His  special  work  appears  to  have 
been  portraits,  and  he  takes  a  high  rank  in  this  department  of  his  art  in  Holland. 

Nos.  133,  218 

REYNOLDS,  Sir  Joshua  Enfflish  School 

Born  near  Plymouth  in  1723,  and  died  in  1792  at  London.  He  was  apprenticed  to 
Thomas  Hudson  in  London  about  1740,  and  travelled  in  Italy  in  1749-50.  He  settled 
in  London  and  was  elected  President  of  the  Royal  Academy  at  the  time  of  its  foundation 
in  1768.  He  was  the  greatest  portrait  painter  in  English  art  in  general  estimation,  al- 
though of  late  years  his  fame  has  been  challenged  by  that  of  Raeburn.  For  forty  years  he 
was  the  leading  figure  in  the  art  and  social  life  of  London,  and  painted  portraits  of  all 
the  leading  personages  of  his  time.  He  received  the  degree  of  D.C.L.  from  Oxford  in 
1773  and  the  same  year  was  elected  mayor  of  his  native  town  of  Plympton. 

Nos.  19,  35,  54,  58,  62,  64,  76,  79 

ROBUSTI,  Jacopo  (called  Tintoretto)  Italian  School 

This  artist,  called  Tintoretto,  "the  little  dyer,"  on  account  of  his  father's  trade,  was  born 
in  Venice  in  15 12  and  died  there  in  1594.  He  began  his  study  under  Titian,  but  was 
soon  dismissed  because  of  the  jealousy  of  the  master  for  the  pupil,  so  he  became  his  own 
instructor  by  copying  the  drawings  of  the  antique  which  he  found  in  the  museums  and 
studying  the  work  of  Michelangelo,  and  soon  his  work  was  recognized.  He  was  a 
man  of  impetuous  temperament  and  hardly  understood  in  his  time,  but  afterward  came  to 
be  accepted  as  the  genius  of  the  Italian  School.  He  painted  altar  pictures,  portraits  and 
decorations  with  equal  facility. 

Nos.  271,  283 

ROMNEY,  George  English  School 

Born  in  1734  at  Beckside,  Lancashire,  he  died  at  Kendal  in  1802.    He  was  apprenticed 

at  the  age  of  nineteen  to  Christopher  Steele,  an  itinerant  portrait  painter  of  Kendal. 


Romney  is  generally  ranked  third  among  the  painters  who  may  be  said  to  have  founded 
the  English  School  of  portrait  painting.  After  some  desultory  teaching  he  settled  in 
London  in  1762,  and  the  following  year  exhibited  and  won  a  prize  for  his  work  entitled 
"Death  of  General  Wolfe."  He  visited  France  in  1764  and  by  1773  had  saved  enough  to 
make  a  visit  to  Rome,  where  he  remained  two  years,  after  which  he  returned  to  London, 
and  from  that  time  his  popularity  as  a  portrait  painter  became  so  great  that  "all  the  town" 
flocked  to  his  studio.  He  first  met  Lady  Hamilton  in  1782-83,  whom  he  painted  in  a 
variety  of  poses  and  costumes.  She  was  then  known  as  Mrs.  Hart,  and  their  friendship 
lasted  to  the  end  of  Romney 's  life.  His  portraits  have  a  special  charm  and  subtle  beauty 
of  colour,  which  place  him  among  the  greatest  English  portrait  painters  of  the  eighteenth 
century. 

Nos.  5,  II,  18,  21,  27,  28,  37,  39,  45,  51,  55 

ROSLIN,  Alexander  French  School 

Although  born  at  Malmoe,  Sweden,  in  1718,  this  painter  gained  his  education  in  Paris 
and  worked  there  as  a  portrait  painter.  He  became  a  member  of  the  Academy  in  1753. 
In  1765  he  won  a  prize  in  competition  with  Greuze  as  a  portrait  painter.  He  married 
Mile.  Giroust,  a  French  artist,  and  after  her  death  he  returned  to  Sweden.  Later  he 
went  to  Russia,  where  he  painted  portraits.    He  died  in  1793. 

No.  107 

ROSSI,  Francesco  dei  (called  II  Salviati)  Italian  School 

Born  in  Florence  in  15 10,  this  artist  died  there  in  1563.  He  was  a  pupil  of  Andrea  del 
Sarto  and  later  of  Bandinelli,  and  a  friend  of  Vasari,  with  whom  he  worked  in  Rome, 
where  he  had  the  protection  of  Cardinal  Salviati,  from  whom  he  derived  his  name.  From 
Rome  he  went  to  Venice,  where  he  produced  a  number  of  pictures  for  public  and  private 
palaces.  Of  roving  nature,  he  never  remained  long  in  one  place,  and  was  soon  found 
working  in  France,  where  the  patronage  of  Francis  I  had  drawn  many  of  the  ablest  artists 
of  Italy.    After  a  time  he  returned  to  Italy  and  died  in  Florence. 

No.  273 

RUBENS,  Peter  Paul  *  Flemish  School 

Born  in  1577  at  Siegen  in  Westphalia,  he  died  in  1640.  His  father  was  one  of  the 
magistrates  of  Antwerp.  Entering  the  studio  of  Adam  van  Voort,  he  remained  there 
four  years,  then  spent  four  years  in  the  studio  of  Otto  van  Veen.  He  was  admitted  to  the 
Guild  of  Painters  in  1598.  Two  years  later  he  went  to  Venice,  where  he  studied  the  works 
of  Titian  and  Veronese.  For  eight  years  he  was  in  the  service  of  the  Duke  of  Mantua,  then 
in  1603  he  was  sent  on  a  mission  to  Spain.  Returning  home  in  1608,  he  was  made  Court 
Painter  to  the  Archduke  Albert,  Governor  of  the  Netherlands.  In  1620  he  visited  Paris  at 
the  invitation  of  Marie  de  Medicis.  In  1628  he  was  sent  on  a  mission  to  Philip  IV  of  Spain, 
and  the  following  year  to  Charles  I  of  England.  Here  he  was  knighted  and  given  a 
degree  by  Cambridge.  He  is  buried  in  the  church  of  St.  Jacques  in  Antwerp.  The 
pictures  ascribed  to  Rubens  are  numerous,  some  being  painted  after  the  master's  sketches  by 
his  pupils,  of  whom  the  most  noted  were  Van  Dyck,  Jordaens  and  Snyders. 

Nos.  179,  192 


RUYSDAEL,  Jacob  van  Dutch  School 

Born  at  Haarlem  in  1628,  he  died  there  in  1682.  Son  and  pupil  of  Isaac  van  Ruysdael, 
probably  also  pupil  of  his  uncle  Salomon  van  Ruysdael.  In  1648  he  joined  the  Guild  of 
St.  Luke,  at  Haarlem,  and  in  1659  obtained  the  rights  of  citizenship  at  Amsterdam.  He 
was  little  appreciated  by  his  contemporaries,  and  gained  but  a  scant  maintenance  by  his  art, 
but  is  now  ranked  among  the  greatest  of  the  Dutch  landscape  painters.  His  pictures,  com- 
prising well  chosen  forest  rapids,  cascades,  shore  and  mountain  scenery,  are  strong  and 
poetical.  The  figures  introduced  in  his  landscapes  are  by  Berchem,  Van  de  Velde,  Wou- 
vermans,  Lingelbach,  and  Eglon  van  der  Neer.    Ruysdael  was  also  an  admirable  etcher. 

No.  153 

RUYSDAEL,  Salomon  van  Dutch  School 

This  painter,  the  uncle  of  Jacob  Ruysdael,  was  born  in  Haarlem  in  161 5  and  died  there 
in  1670.  He  was  the  pupil  of  Jan  van  Goyen  and  spent  most  of  his  life  in  the  city  of  his 
birth.  His  art  resembles  closely  that  of  Van  Goyen,  but  is  more  vigorous  in  colour.  He 
painted  sylvan  landscapes,  giving  much  attention  to  the  accessories. 

Nos.  140,  223 

SCHALCKEN,  Godfried  Dutch  School 

Born  at  Dordrecht  in  1643,  he  died  at  The  Hague  in  1706.  This  genre  painter  was  a 
pupil  of  Samuel  van  Hoogstraaten  and  Gerard  Douvv.  He  visited  England,  where  he  exe- 
cuted many  small  portraits,  among  them  that  of  William  HI,  with  much  success.  Occa- 
sionally he  painted  historical  pictures,  but  his  best  works  are  genre  and  cabinet  pictures, 
illumined  by  artificial  (usually  candle)  light. 

Nos.  208,  209 

SCHREYER,  Adolphe  German  School 

He  was  born  at  Frankfort-on-the-Main  in  1828,  and  died  in  1899.  He  studied  at  the 
Stadel  Institute,  Frankfort,  then  in  Stuttgart,  Munich  and  Dusseldorf.  In  1848  he 
travelled  with  Prince  Thurn  through  Hungary,  Wallachia  and  southern  Russia,  then 
accompanied  the  Austrians  in  1854  down  the  Danubian  Principalities.  In  1861  he 
visited  Algiers  and  resided  in  Paris  until  1870,  when  he  retired  to  Germany  near  Frankfort. 
No.  247 

SHAYER,  William  J.  English  School 

He  was  born  at  Southampton  in  1788,  and  died  in  Shirley,  near  Southampton,  in  1879. 
From  1824,  which  is  the  date  of  the  foundation  of  the  Society  of  British  Artists,  to 
1873,  William  Shayer  was  a  constant  and  most  prolific  contributor  to  their  exhibitions, 
sending  frequently  seven  or  eight,  and  occasionally  twelve  works  a  year.  He  was  elected  a 
member  in  1862.  His  works  mostly  represent  landscape  scenes  of  sport,  as  shown  by  those 
in  this  collection. 

Nos.  49,  50,  74 

SHEE,  Sir  Martin  Archer  English  School 

Born  in  Dublin  in  1769,  he  died  in  Brighton  in  1850.  He  began  his  studies  in  Dublin,  but 
went  to  London  when  nineteen  and  entered  the  Academy  schools.    He  won  recognition  by 


his  portraits  of  actors  and  soon  found  his  services  in  demand  among  the  prominent  people 
of  the  day.  He  was  also  a  writer  and  produced  several  books  on  art,  also  a  tragedy  and  a 
novel.  On  the  death  of  Lawrence,  in  1830,  he  became  the  President  of  the  Royal  Academy, 
which  he  held  for  twenty  years. 

No.  47 

SICIOLANTE  DA  SERMONETA,  Girolamo  da  Italian  School 

This  artist,  who  was  often  called  Girolamo  da  Sermoneta,  was  born  at  Sermoneta  in  1504, 
and  died  in  1550.  He  was  a  pupil  of  Leonardo  da  Pistoia  and  of  Perino  del  Vago,  whom 
he  assisted  in  the  Castle  of  St.  Angelo.  He  was  employed  by  Pope  Gregory  XHI  in  the 
decoration  of  the  Sala  Regia  in  the  Vatican.  He  also  painted  frescoes  in  various  Roman 
churches.  His  work  is  marked  by  good  composition,  richness  of  invention  and  great  finish. 

No.  266 

SINGLETON,  Henry  English  School 

An  English  historical  painter,  who  was  born  in  London  in  1766,  and  died  at  an  unknown 
date.  He  was  a  pupil  of  his  uncle,  William  Singleton,  miniature  painter.  Henry  Singleton 
became  a  student  of  the  Royal  Academy  and  gained  the  gold  medal  in  1788,  his  subject 
being  "Alexander's  Feast."  He  painted  portraits  and  history,  besides  being  largely  employed 
as  a  book  illustrator. 

Nos.  59,  60 

SLINGELANDT,  Pieter  van  Dutch  School 

Born  at  Leyden  in  1640,  he  died  there  in  1691.  He  was  a  pupil  of  Gerard  Douw  and 
devoted  himself,  aside  from  a  few  portraits,  chiefly  to  genre  subjects,  interiors  and  homely 
scenes  in  the  style  of  de  Hoogh,  with  peasants  as  his  models. 

No.  214 

SNYDERS,  Frans  Fle?nish  School 

Born  at  Antwerp  in  1579,  he  died  there  in  1657.  He  studied  under  Peter  Brueghel,  then 
under  Van  Balen,  and  became  the  friend  and  associate  of  Rubens  and  Jordaens;  also  of 
Van  Dyck,  who  painted  his  portrait  several  times.  Snyders  began  by  painting  dead  game, 
fish,  fruit  and  vegetables  in  the  establishment  of  his  parents,  who  conducted  an  eating-house. 
He  was  enrolled  in  the  Guild  of  St.  Luke,  at  Antwerp,  in  1602,  and  paid  a  visit  to  Italy; 
returning  to  his  native  town  some  years  later,  he  enlarged  the  scope  of  his  art  and  intro- 
duced human  figures.  He  executed  animals  in  the  landscapes  of  Rubens,  while  the  latter 
painted  figures  in  the  works  of  Snyders.    Philip  V  of  Spain  gave  him  large  commissions. 

Nos.  183,  216 

SPINELLI,  LuCA  (usually  called  Spinello  Aretino)  Florentine  School 

Born  in  1332  at  Arezzo,  he  died  in  1410.  His  grandfather  was  a  goldsmith,  like  one  of 
Spinello's  uncles,  from  whom  he  inherited  the  taste  for  drawing.  He  was  apprenticed  in 
his  twentieth  year  to  Jacopo  del  Casentino,  while  that  painter  was  at  work  in  Arezzo. 
Spinello  painted  many  altarpieces  and  a  series  of  church  frescoes,  some  of  which  are  still  in 
good  preservation. 

No.  268 


STARK,  James  English  School 

Born  at  Norwich  in  1794,  he  died  at  London  in  1859.  He  was  for  three  years  a  pupil  of 
"Old  Crome,"  then  went  to  London  and  exhibited  his  first  picture  at  the  Royal  Academy 
in  1817.  Returning  to  Norwich,  he  took  a  prominent  part  in  the  exhibitions  there.  He 
contributed  to  the  Royal  Academy  and  the  British  Institution,  where  in  181 8  he  won  a  prize. 
In  1821  he  removed  to  Yarmouth,  but  soon  returned  to  Norwich,  and  in  1827  published  his 
"Scenery  of  the  Rivers  of  Norfolk."  He  then  removed  to  London.  His  masterpiece,  "The 
Valley  of  the  Yare,"  is  in  the  National  Gallery. 

No.  34 

STEEN,  Jan  Dutch  School 

This  popular  Dutch  artist  was  born  at  Leyden  in  1626  and  died  in  that  city  in  1679.  He 
was  the  son  of  a  brewer  and,  in  consequence,  rich.  He  studied  under  Jan  van  Goyen  at 
The  Hague,  then  with  Adrian  van  Ostade.  He  married  the  daughter  of  Van  Goyen.  He 
worked  diligently  at  his  profession  and  left  more  than  five  hundred  pictures,  yet  died  poor. 
In  1672  he  opened  a  tavern,  where  he  found  many  of  the  subjects  for  his  pictures. 

Nos.  177,  201 

STEVAERTS,  Anthonie  Palamedesz  Dutch  School 

Born  in  Delft  in  1601,  this  artist  was  a  son  of  a  gem  engraver  and  died  there  in  1673.  He 
painted  portraits,  conversations  and  genres,  and  was  successful  in  rendering  groups  of  figures 
in  interiors  at  table  or  engaged  with  musical  instruments.  He  was  made  a  member  of  the 
Guild  of  St.  Luke  in  1621,  and  later  filled  the  important  position  of  dean  of  that  body. 

Nos.  200,  220 

STORCK,  Abraham  Dutch  School 

Born  in  Amsterdam  about  161 5,  Storck  died  in  that  city  in  1710.  He  formed  his  style  on 
that  of  Bakhuysen,  painting  scenes  on  the  rivers  about  Amsterdam,  with  shipping  and  small 
figures.  His  boats  and  figures  were  always  well  drawn.  He  often  painted  the  figures  in 
the  landscapes  of  Hobbema. 

No.  213 

STRETES,  GuiLLEM  English  School 

Little  is  known  of  this  English  painter  of  the  sixteenth  century,  other  than  that  he  was 
Court  Painter  to  King  Edward  VI  in  1551.  His  work  indicates  that  he  came  under  the 
influence  of  Holbein,  who  had  been  settled  in  England  since  1532.  Besides  his  oil  portraits, 
Stretes  painted  miniatures  on  ivory. 

No.  9 

STRIGEL,  Bernhard  German  School 

Born  at  Memmingen  in  1461,  he  died  there  about  1528.  He  was  a  historical  and  portrait 
painter.  Little  is  known  of  his  biography,  as  he  is  only  mentioned  in  early  documents  as 
living  in  Memmingen  between  15 16  and  1528.  His  unsigned  work  has  sometimes  been 
ascribed  to  Lucas  Cranach  the  younger. 

No.  248 


C257] 


TAMBURINI,  A.  Modern  Italian  School 

Though  this  painter  has  acquired  great  popularity  through  his  genre  pictures,  no  informa- 
tion as  to  his  life  is  obtainable. 


No.  290 


TENIERS,  David,  the  Younger 


Flemish  School 


Born  at  Antwerp  in  1610,  he  died  there  July  29,  1690.  He  was  a  pupil  of  his  elder 
brother,  Julian,  also  of  Rubens,  and  in  Rome  of  Adam  Elsheimer.  He  became  master  of 
Antwerp  Guild  in  1606.  He  painted  chiefly  peasant  scenes,  but  occasionally  biblical  and 
mythological  subjects.  It  is  not  always  ascertainable  which  are  the  works  of  the  elder  and 
which  the  younger  Teniers,  since  both  painted  the  same  line  of  subjects. 

Nos.  193,  199,  225,  226,  231 


This  genre  painter  was  born  at  Zwolle  either  in  1614  or  1617  (the  date  fixed  in  Amsterdam 
catalogues  by  A.  Bredius)  ;  died  at  Deventer  in  1681.  He  received  his  first  instruction  from 
his  father,  then  studied  and  formed  his  style  in  Amsterdam,  or  more  especially  in  Haarlem, 
where  he  entered  the  guild,  under  the  influence  of  Frans  Hals.  About  1648  he  became, 
through  the  favour  of  the  Spanish  envoy,  the  painter  of  the  diplomatic  circle  and  executed 
the  famous  portrait  group  of  the  Peace  Congress.  He  followed  the  Spanish  envoy  to 
Madrid,  where  he  painted  the  king  and  many  courtiers  and  ladies.  He  was  the  inventor 
of  a  certain  style  of  interiors ;  he  is  generally  referred  to  as  a  thoroughly  original  master. 

Nos.  146,  197,  198 

TURNER,  Joseph  Mallord  William  English  School 

Born  in  1775  at  London,  he  died  there  in  1851.  Pupil  of  the  Royal  Academy  School,  he 
was  influenced  at  first  by  Girtin  and  the  seventeenth  century  Dutch  landscapists,  then  by 
Claude  Lorrain.  He  became,  perhaps,  the  most  original  and  remarkable  figure  in  the 
history  of  English  art.  The  son  of  a  London  barber.  Turner  began  to  draw  before  he 
attended  school.  He  became  a  student  at  the  Royal  Academy  School  in  1789,  and  in  the 
same  year  a  picture  of  his  was  hung  in  the  Academy  exhibition.  Ten  years  later  he  became 
an  associate  and  in  1802  an  academician.  Both  in  oil  and  water  colours  Turner  was  an 
original  genius.  He  owed  his  first  fame  to  Ruskin,  who  eulogized  his  art  and  wrote  almost 
inspired  reviews  of  his  pictures. 

Nos.  53,  67 

UNKNOWN  ARTIST 

Unidentified  pictures  of  various  times  and  countries. 

Nos.  98,  242,  243,  245 


Unidentified  pictures  of  the  Italian  School  of  the  thirteenth  to  the  sixteenth  centuries. 
Nos.  264,  272,  275,  279,  281 


TERBURG  (or  Terborch),  Gerard 


Dutch  School 


UNKNOWN  ARTIST 


Italian  School 


1:258] 


UNKNOWN  ARTIST  Flemish  School 

Unidentified  pictures  of  the  Flemish  School  of  the  fifteenth  and  sixteenth  centuries. 

Nos.  230,  236 

UNKNOWN  ARTIST  German  School 

Unidentified  pictures  of  the  German  School  of  the  seventeenth  to  nineteenth  centuries. 

Nos.  242,  243,  245 

VAN  BEYEREN,  Abraham  Hendricksz  Dutch  School 

Born  at  The  Hague  in  1620  or  1621,  he  died  there  about  1674  or  1675.  He  was  a  painter 
of  marines  and  still  life,  and  is  said  to  have  been  a  pupil  of  Peter  de  Putter,  his  brother-in- 
law,  who  aided  him  to  become  a  master  of  the  Painters'  Guild  in  their  native  city  in  1640, 
and  was  admitted  to  the  guild  at  Delft  in  1657.  Examples  of  his  work  are  to  be  found  in 
many  European  museums. 

Nos.  130,  136,  227 

VAN  DER  HELST,  Bartholomeus  Dutch  School 

Born  at  Haarlem  in  161 1  or  1612,  he  died  at  Amsterdam  in  1670,  and  was  one  of  the  most 
renowned  Dutch  portrait  painters.  Sir  Joshua  Reynolds  said  of  his  picture  painted  to 
celebrate  the  peace  of  Westphalia,  and  representing  an  archery  festival:  "This  is,  perhaps, 
the  first  picture  of  portraits  in  the  world,  comprehending  more  of  those  qualities  which  make 
a  perfect  portrait  than  any  other  I  have  ever  seen."  His  principal  works  are  in  the  Museum 
and  in  the  new  Hotel  de  Ville  at  Amsterdam.  In  the  Louvre  is  a  small  replica  of  one  of 
his  finest  works,  which  is  considered  superior  to  the  large  picture  in  Amsterdam.  His  paint- 
ings are  solid  and  firm  in  touch,  often  verging  on  excess  of  precision,  with  great  skill  for 
producing  lustre. 

No.  219 

VAN  DER  NEER,  Aert  Dutch  School 

Born  at  Amsterdam  in  1603,  he  died  there  in  1677.  A  landscapist  whose  early  master  is 
unknown,  he  became  a  friend  of  Cuyp,  who  often  helped  him,  frequently  painting  the 
figures  in  Van  der  Neer's  landscapes.  This  artist  became  specially  known  as  an  admirable 
painter  of  moonlight  and  twilight  pictures.  He  represents  Dutch  canals,  with  the  towns 
along  their  banks  lighted  by  the  moon. 

Nos.  135,  158,  159,  163 

VAN  DEN  TEMPEL,  Abraham  Dutch  School 

Born  at  Leeuwarden,  1622,  he  died  in  Amsterdam  in  1672.  His  real  name  was  Abraham 
Lambert  Jacobse.  This  portrait  painter  was  a  pupil  of  his  father,  Lambert  Jacobse,  and, 
in  Leyden,  of  Joris  van  Schooten.  Later  he  followed  the  manner  of  Van  der  Heist. 
Light  and  pleasing  colouring  and  broad  treatment  characterize  his  pictures. 

No.  187 

VAN  DE  VENNE,  Adrian  Pietersz  Dutch  School 

He  was  born  in  Delft  in  1584  and  died  at  The  Hague  in  1662.  At  first  he  was  a  follower 
of  Breughel  and  became  one  of  the  best  of  the  little  painters  of  Holland,  painting  hunting 


[259] 


scenes,  fetes,  allegories,  etc.  He  frequently  painted  crowds  of  figures  in  which  each  figure 
was  a  portrait.  He  received  many  commissions  from  the  Princes  of  Orange  and  also  from 
the  King  of  Denmark. 

No.  215 

VAN  DYCK,  Sir  Anthony  Flemish  School 

Born  at  Antwerp  in  1599,  he  died  at  London  in  1641.  The  most  distinguished  of  Rubens' 
pupils,  and  one  of  the  great  artists  whose  gifts  showed  themselves  almost  from  birth.  He 
was  the  son  of  a  silk  merchant,  while  his  mother  was  skilled  in  embroidery.  At  ten  he 
had  begun  to  paint,  when  a  pupil  of  Hendrik  van  Balen,  and  at  fifteen  had  entered  Rubens' 
studio;  at  nineteen  he  was  himself  a  master.  For  five  years  (1620-25)  he  travelled  and 
painted  in  Italy,  and  on  his  return  to  Antwerp  became  the  Court  Painter.  Queens  visited 
him  in  his  studio,  and  the  nobility  of  three  nations  considered  it  an  honour  to  be  painted  by 
him.  He  visited  London  in  1620  and  again  in  1627,  before  he  finally  settled  there  in  1632. 
On  his  presentation  to  Charles  I,  he  obtained  permission  to  paint  the  king  and  queen.  He 
was  appointed  painter  to  the  court,  was  knighted,  and  received  a  pension  of  £200.  A  town 
house  was  given  him  at  Blackfriars  and  a  country  house  at  Eltham.  For  seven  years 
Van  Dyck  painted  portraits  of  the  English  aristocracy  with  indefatigable  industry.  Nearly 
half  of  all  his  known  pictures  are  in  England. 

Nos.  26,  72,  75 

VAN  EYCK,  Jan  Flemish  School 

Born  about  1390  at  Alden  on  the  Maas  (exact  date  remains  doubtful),  he  died  in  1440. 
He  and  his  elder  brother,  Hubert,  worked  together.  The  Van  Eycks  resided  chiefly  in 
Ghent  and  Bruges,  where  they  founded  a  large  school.  In  1421  both  were  granted  the 
freedom  of  the  profession  by  the  corporation  of  painters  in  Ghent.  They  are  particularly 
distinguished  as  the  inventors  of  oil  painting,  or  more  literally,  varnish  paintings  as  practised 
during  their  era. 

No.  131 

VAN  GOYEN,  Jan  Dutch  School 

Born  at  Leyden  in  1596,  he  died  at  The  Hague  in  1666.  He  studied  under  various  artists 
of  no  great  repute,  and  later  made  a  tour  through  France.  In  161 8  he  settled  at  Leyden, 
his  native  town,  married,  and  began  his  professional  career ;  the  small  works  of  this  period 
showing  his  talent  and  proficiency.  In  1631  he  moved  to  The  Hague,  where,  in  1640,  he 
became  president  of  the  Guild  and  resided  there  until  his  death.  Jan  Steen,  also  a  Leyden 
man,  was  his  pupil  and  also  became  his  son-in-law.  The  subjects  chosen  by  Van  Goyen 
were  those  common  to  Dutch  landscape  painters,  but  he  liberated  himself  from  the  school, 
so  that  his  art  has  a  charm  by  itself. 

Nos.  161,  162,  210 

VANLOO,  Carle  Andre  French  School 

Born  in  Nice  in  1705,  he  died  at  Paris  in  1765.  This  history  painter  was  the  son  and  pupil 
of  Louis  Vanloo,  and  assisted  his  brother,  Jean  Baptiste,  who  took  him  to  Rome  and  placed 
him  under  Benedetto  Luti  and  the  sculptor  Le  Gros.  After  the  latter 's  death  he  returned 
to  Paris,  won  the  first  prize  for  drawing  in  1723,  and  the  grand  prize  in  1727.  Knighted 


[260] 


by  the  Pope  in  1 731,  he  was  received  in  the  French  Academy  in  1735  and  became  a  professor 
two  years  later.  In  1763  he  was  made  director  of  the  Academy  and  first  painter  to 
the  king. 

Nos.  81,  117 

VAN  MUSSCHER,  Michiel  Dutch  School 

Born  at  Rotterdam  in  1645,  he  died  at  Amsterdam  in  1705.  A  portrait  painter,  he  was 
first  instructed  by  Martin  Zaagmolem,  then  became  pupil  of  Abraham  van  den  Tempel,  of 
Metsu,  and  Adrian  van  Ostade.  The  influence  of  all  these  masters  is  discernible  in  his 
excellent  genre  pictures.    He  painted  also  views  of  towns. 

No.  206 

VAN  ORLEY,  Bernard  Flemish  School 

Born  in  1491,  he  died  at  Brussels  in  1542.  He  went  to  Rome  in  1509  and  studied  under 
Raphael,  becoming  a  great  favourite  with  his  master.  Returning,  he  settled  in  Brussels, 
where  he  received  many  commissions  for  altarpieces.  In  15 18  he  became  the  official  painter 
of  Margaret  of  Austria.  When  Albert  Diirer  visited  the  Netherlands  in  1520,  he  was 
entertained  by  Van  Orley,  who  painted  his  portrait. 

Nos.  180,  181 

VAN  SOMER,  Paulus  Dutch  School 

Born  in  Antwerp  about  1576,  Van  Somer  worked  with  his  brother  at  Amsterdam  for 
several  years  painting  portraits,  in  which  they  won  great  success.  In  1605,  when  he  was 
about  twenty-nine  years  of  age,  he  went  to  London,  where  he  settled  and  where  most  of  his 
works  are  to  be  found.  He  painted  several  portraits  of  James  I,  and  in  161 7  he  produced 
two  portraits  of  Queen  Anne  of  Denmark,  one  of  which  is  in  the  National  Portrait  Gallery, 
London.    He  also  painted  Chancellor  Bacon.    He  died  at  the  age  of  forty-five. 

No.  186 

VAN  TOL,  DoMENicus  Dutch  School 

Born  at  Bodegraven  between  1631  and  1642,  he  died  at  Leyden  in  1676.  This  genre 
painter  was  a  nephew  and  pupil  of  Gerard  Douw,  whose  manner  he  imitated  so  closely  that 
his  pictures  were  frequently  attributed  to  that  master,  though  his  works  generally  are  a 
little  clearer  in  colour. 

No.  191 

VELASQUEZ,  Don  Diego  Rodriguez  de  Silva  y  Spanish  School 

Born  at  Seville  in  1599,  he  died  at  Madrid  in  1660.  Both  his  parents  were  of  noble  blood, 
his  father's  name  being  Silva,  his  mother's  Velasquez.  He  studied  first  with  Francisco 
Herrera,  his  second  master  being  Pacheco,  whose  daughter  he  married  in  1618,  and  whose 
house,  says  one  of  the  Spanish  historians,  was  "the  golden  prison  of  paintings."  It  was  here 
that  Velasquez  met  Cervantes  and  obtained  his  first  introduction  to  the  brilliant  circle  in 
which  he  himself  was  to  shine.  In  Pacheco's  company  he  went,  in  1622,  to  Madrid,  return- 
ing one  year  later  at  the  request  of  Olivares,  who  persuaded  the  king  to  sit  to  Velasquez  for 
his  portrait.  From  the  time  of  his  first  portrait  of  Philip  IV  onward,  the  life  of  Velasquez 
was  one  long  triumph,  and  he  was  made  Painter  to  the  King.   When  Charles  I,  then  Prince 


C261] 


of  Wales,  visited  Madrid  in  1623,  Velasquez  painted  his  portrait.  The  Duke  of  Bucking- 
ham was  also  his  friend,  and  Velasquez  saw  something,  too,  of  Rubens  when  the  latter 
came  on  his  diplomatic  mission  to  IVIadrid.  In  1629  he  travelled  in  Italy  with  recommen- 
dations from  the  king,  and  wherever  he  went  he  was  received  with  all  the  honours  accorded 
to  princes.  His  second  visit  to  Italy  was  in  1649.  At  Rome  he  painted  the  portrait  of  the 
Pope  (Innocent  X) ,  which  made  so  great  a  mark  that  it  was  carried  in  triumphal  procession, 
like  Cimabue's  picture  of  old.  His  royal  master,  however,  became  impatient  for  his  return, 
and  he  hurried  back  to  Madrid  in  1651.  He  died  of  a  fever  contracted  while  accompanying 
the  king  on  a  journey. 

No.  256 

VESTIER,  Antoine  French  School 

He  was  born  at  Avalon  (Yonne)  in  1740  and  died  in  Paris  in  1824.  He  was  a  portrait 
painter,  pupil  of  Pierre,  and  was  received  into  the  Academy  in  1786.  After  travelling  a  long 
time  in  Holland,  he  settled  in  Paris,  where  he  became  a  fashionable  portrait  painter. 

Nos.  105,  no,  125 

VICTORS,  Jan  (also  written  Victoors)  Dutch  School 

Born  at  Amsterdam  in  1620,  he  died  in  1682.  He  was  a  history,  genre,  portrait  and  land- 
scape painter,  and  one  of  the  many  pupils  of  Rembrandt,  probably  between  1635  and  1640. 
In  his  biblical  scenes  he  adhered  closely  to  the  manner  of  his  master,  while  he  also  painted 
genres  and  landscapes.  Many  museums  possess  examples  of  his  works,  which  show  rare 
capabilities  and  charm  on  canvases  of  moderate  size. 

Nos.  202,  207 

VINCENT,  George  English  School 

Born  in  1796  at  Norwich,  England,  Vincent  died  in  London  in  1831.  Landscape  painter, 
he  was  a  pupil  of  "Old  Crome"  (John  Crome)  and  exhibited  his  work  at  the  British 
Institution  and  the  Royal  Academy  in  London  during  his  entire  career. 

Nos.  22,  71 

VINEA,  Francesco  Italian  School 

This  contemporary  Italian  painter,  of  whom  little  information  is  obtainable,  was  born  in 
1846  and  has  long  been  popular  in  Italy.  From  his  studio  in  Florence  his  pictures  have 
gone  all  over  Europe  and  America. 

No.  288 

WATTEAU,  Jean  Antoine  French  School 

This  artist,  the  son  of  a  plumber,  was  born  at  Valenciennes  in  1684  and  died  in  Paris  in 
1 72 1.  He  began  his  studies  early  under  Guerin,  and  at  sixteen  produced  his  first  picture  of 
importance.  In  1702,  when  eighteen  years  of  age,  he  tramped  all  the  way  to  Paris,  where 
he  gained  employment  as  a  decorator,  making  panels  and  arabesques,  in  the  fashion  of  the 
day.  Later  he  met  an  art  patron,  at  whose  house  he  met  numerous  artists  and  connoisseurs, 
and  developed  rapidly  in  the  style  he  had  chosen.  In  171 7,  he  was  received  in  the  Academy 
under  the  title  of  'Teintre  des  Fetes  Galantes,"  for  which  he  painted  his  great  picture  now 


[262] 


in  the  Louvre,  "L'Embarquement  pour  I'lsle  de  Cythere,"  which  made  a  great  sensation  at 
the  time.  In  17 19  he  visited  England,  but  found  the  ch'mate  did  not  agree  with  him. 
Always  of  delicate  health,  he  died  of  weak  lungs,  the  most  brilliant  and  original  artist  of 
the  eighteenth  century. 

No.  84 

WEENIX,  Jan  Baptiste  Dutch  School 

This  son  of  an  architect  of  celebrity  was  born  in  Amsterdam  in  1621  and  died  in  1660.  He 
was  a  pupil  of  Abraham  Bloemaert  and  at  eighteen  set  up  for  himself,  when  his  pictures 
were  well  received.  At  twenty-one  he  went  to  Italy,  where  he  received  commissions  from 
Cardinal  Pamphili.  After  a  stay  of  four  years,  he  returned  to  Holland,  settling  in  Amster- 
dam, where  he  was  regarded  as  one  of  the  most  distinguished  artists  of  the  country.  He 
painted  portraits,  landscapes,  animals  and  dead  game,  but  he  was  particularly  successful  in 
representing  Italian  seaports  with  noble  architecture,  in  the  manner  of  Claude. 

No.  224 

WOUVERMANS,  Philip  Dutch  School 

Born  at  Haarlem  in  161 9,  he  died  there  in  1668.  Pupil  of  his  father,  Paulus  Joosten 
Wouvermans,  he  also  studied  landscape  painting  under  Jan  Wynants.  Philip  is  also 
supposed  to  have  profited  by  the  works  of  Andreas  Both  and  Pieter  van  Laer.  He  entered 
the  Guild  of  Painters  at  Haarlem  in  1640  and  later  was  elected  dean.  Landscape  always 
played  a  prominent  part  in  his  work,  yet  he  gradually  peopled  it  with  human  figures  and 
animals.  Horses  were  his  favourite  study,  for  he  generally  introduced  one  or  more  in  his 
pictures.  He  was  master  of  the  forms  and  actions  of  men  and  animals  and  could  paint 
them  without  models.  He  was  a  prolific  artist.  Jean  Moyreau,  the  eminent  French  en- 
graver, published  nearly  a  hundred  plates  from  his  pictures. 

No.  147 

WYNANTS,  Jan  Dutch  School 

This  artist,  one  of  the  founders  of  the  Dutch  school  of  landscape  painting,  was  born  at 
Haarlem  about  161 5,  and  died  at  Amsterdam  after  1679.  Little  is  known  of  his  life,  but 
tradition  asserts  he  was  the  master  of  Wouvermans  and  Adrian  van  de  Velde.  At  one  time 
he  was  a  dealer  in  pictures.  He  worked  in  Haarlem  and  later  in  Amsterdam,  where  it  is 
believed  he  died.  He  produced  many  pictures,  of  which  the  Smith  "Catalogue  Raisonne" 
named  214,  all  finished  with  great  care. 

No.  174 

ZAUFFLEY,  Johan  (called  Zoffany)  German  School 

This  Anglo-German  painter  was  born  at  Ratisbon  in  1733  and  died  in  London  in  18 10. 
His  father  was  an  architect.  When  thirteen  years  old  the  son  ran  away  to  Rome  to  study 
painting,  where  he  remained  twelve  years.  On  returning  to  Germany  he  made  an  unhappy 
marriage  which  led  him  to  leave  for  London  in  1758.  After  a  struggle  he  attracted  atten- 
tion by  his  portraits  of  actors,  and  was  elected  a  member  of  the  Royal  Academy  and  painted 
portraits  of  many  members.  Later  he  travelled  extensively,  going  as  far  as  India,  every- 
where receiving  important  commissions,  finally  returning  to  London,  where  he  died. 

No.  52 


C263: 


ZORN,  Anders 


Swedish  School 


This  contemporary  painter  was  born  in  Sweden,  but  has  lived  in  Paris  in  recent  years.  Be- 
sides his  work  as  a  portrait  painter,  he  has  won  renown  as  an  etcher.  He  painted  a  number 
of  portraits  in  the  United  States. 

No.  83,  also  Frontispiece 


Born  in  1598  at  Fuente  de  Cantos,  he  died  at  Madrid  in  1662.  His  parents  belonged  to 
the  agricultural  class  and  early  discovered  their  son's  ability  for  drawing  figures,  sending 
him  to  study  under  Juan  de  las  Roelas  at  Seville,  where  he  made  rapid  progress.  Before  his 
twenty-first  year  he  had  gained  a  high  reputation  and  full  employment  in  his  art  at  Seville, 
adopting  a  forceful  and  naturalistic  style.  While  not  really  imitating  Caravaggio,  Zur- 
baran  acquired  the  name  of  "the  Spanish  Caravaggio."  In  1625  he  painted  a  series  of 
scenes  from  the  life  of  St.  Peter  for  the  chapel  of  San  Pedro  Cathedral  of  Seville,  and  about 
the  same  time  he  painted  his  best  work,  "Glory  of  St.  Thomas  Aquinas,"  now  in  the  Seville 
Museum. 


ZURBARAN,  Francisco  de 


Spanish  School 


No.  254 


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